ReelBob: ’22 July’ ★★½
By Bob Bloom
“22 July” conjures mixed reactions as you watch.
On one hand, the manner in which writer-director Paul Greengrass (“United 93,” “Captain Phillips”) tells the story is impressive.
But, ironically, even at 143 minutes, you feel the movie is incomplete; that so much has been left unspoken and undone.
This retelling of the horrible 2011 terrorist attacks that killed 77 people in Norway is harrowing, as well as frustrating.
The deeds were done by a lone, right-wing extremist, Anders Brevik, who killed eight people when a bomb he planted at a government building in Oslo exploded. He then went to an island where he killed 69 others — most of them teenagers — at a leadership camp.
Greengrass uses the physical and mental healing of one survivor, Viljar Hanssen, to tell the story, as well as to represent the trauma and eventual reconciliation that the nation endured.
A lot of time also is spent with Brevik, a narcissistic individual, who sees himself as a commander in a cultural war to cleanse his nation of “others” — immigrants, socialists and left-leaning individuals.
Simply, anyone who is not like him or does not share his beliefs.
Greengrass tries to create too large a canvas — putting a human face on the monstrous Brevik, sharing Viljar’s difficult and long road to recovery, the fallout over the government’s response to the shooting and the turmoil of the reluctant lawyer who Brevik has chosen to represent him.
Viljar should be the emotional center of the movie, but Greengrass continually shifts his focus, depriving us of moments we would rather spend with Viljar and other witnesses or families.
This criticism should not reflect on the overall impact of “22 July.” It is a harrowing and upsetting experience, especially in the first 30 minutes or so when Brevik methodically and cold-bloodedly carries out his attacks.
It is not easy seeing young boys and girls fall to the ground — dead. Nor does Greengrass spare us. The violence is so matter-of-factly calculated that it turns your stomach.
Yet, Greengrass tells the story in such an objective manner that it is difficult to get emotionally involved — even with Viljar.
The movie remains on a slow-climbing trajectory that fails to reach any highs until the very end, when Viljar appears in court to give his witness statement.
Too much time is wasted with the minutiae of Brevik’s defense and trial — psychiatric reports, deciding whether he should take an insanity plea or be allowed to go to trial.
Brevik wants a trial — and a chance to state his case. The movie, as in real life, affords him that opportunity.
Is it really necessary to hear Brevik, especially because what he says in public is repeating what he has told his lawyer and authorities while in custody.
Greengrass is almost documentary-like in his approach to “22 July,” which is in theaters and available on Netflix.
The movie needed less time with Brevik and more spotlight not only for Viljar but other survivors and families of those killed.
’22 July” requires more hot-blooded outrage and consternation. If I wanted a dispassionate retelling of this heinous crime, I would have read newspaper articles.
No, “22 July” is a movie that should make you want to rip your clothes and furiously shout from the rooftops.
It’s a movie that can be admired from afar, but not embraced.
I am a member of the Indiana Film Journalists Association. My reviews appear at ReelBob (reelbob.com) and Rottentomatoes (www.rottentomatoes.com). I also review Blu-rays and DVDs. I can be reached by email at bobbloomjc@gmail.com or on Twitter @ReelBobBloom. Links to my reviews can be found on Facebook, Twitter, Google+ and LinkedIn.
22 JULY
2½ stars out of 4
(R), disturbing images, graphic violence, language