22 July

Paul Greengrass is a master of immersive atmosphere and has reaffirmed it with this film. If someone seems to find the scene of the absolutely crazy massacre rushed and non-captivating, I feel really sorry for them (and it may well be the founder of FilmBooster), because I haven't seen anything more repulsive in a long time. Besides Greengrass, the representative of Breivik, from whom radiates unadulterated fear, does his share, and the longer he is in the film and when he turns into an exquisite psychopath from an originally silent character, then that fear is even greater. In addition to Breivik, we also see the consequences of his actions, which one of the families must deal with, we will also get to know his attorney and feel the pressure on the Prime Minister of Norway... It seems to me that the film really had everything. I can't say I enjoyed watching it, but it was one of those memorable experiences. I guess like... Well yes, probably like Greengrass' United 93. (02/03/2019)

This is very challenging material to film (and I mean this not only from a moral and ethical standpoint but also in terms of content). Making a two-hour film about such a horrific event is no easy task. However, my concerns eased a bit when I found out that Greengrass was at the helm. The result is therefore above average, though not great (but blaming him for that would be nonsensical). The initial half-hour sequence, culminating in the shooting on the island, is horrifying—I still get goosebumps from it, as it was truly difficult to watch. But then comes almost two hours where multiple storylines unfold. And here's where the problem lies because the film starts to drag, to put it mildly. It has its admirable moments—the scenes with the actor portraying Breivik are very well done, and the final court scene is highly emotional—but I would have cut a good half hour from it. For instance, I would have given more screen time to the Prime Minister, who wasn’t given much attention. All in all, it’s a film everyone should see, but in terms of quality, it doesn’t quite match up to Greengrass’s previous work with a similar theme (United 93). However, it's still a solid piece of craftsmanship, no doubt about that. I’m giving it 75%. (03/12/2018)

The attack itself is over and done within the first thirty minutes and it is not as spellbinding as I would have expected, and the rest of the movie shows society trying to come to terms with the tragedy. The traumatised male survivor and his family, Brejvik’s lawyer and his family, Brejvik himself and the court proceedings. For a Greengrass film, 22 July has a surprisingly mechanical, boring narrative that relies on the depth of suffering of a traumatized boy in contrast to the murderer’s shocking serenity founded on his political convictions. There is some sort of message and some merit in its information value, but as for conveying the horror of the tragedy to the audience, its competitor, Erik Poppe’s Utøya: July 22 has the upper hand. (30/10/2018)

Greengrass’s simple interpretation of a terrorist attack and the subsequent events holds a hidden message involving fear of what the world is coming to. Instead of Breivik, it focuses more on a boy, Viljar, riddled with gunshot wounds, his gradual recovery and return to life. The confrontation in court is powerful, with no unnecessary ideological frills. Precise acting performances, powerful supporting scenes (the brain surgery, fitting glass eyes, the final farewell with the lawyer) and the effort to capture reality as precisely as possible are the main highlights of this movie. On the other hand, the endeavor to give every aspect sufficient space means that it lacks a certain complexity. If it weren’t for the excessive length, I would give it a full five-star rating. (22/10/2018)