The Monuments Men – Movie Review

The Monuments Men is the latest creation from frequent collaborators George Clooney and Grant Heslov. The film takes a different approach to the typical ‘Men-On-A-Mission’ trope generally found in war films, as these men are not on a mission to save lives – They are on a mission to save cultures.

George Clooney directs and stars as Frank Stokes, the leader of the cause whose platoon is empowered by FDR himself, to venture into Germany at the sunset of World War II and retrieve the numerous stolen works of art that had been seized by the tyrannical Hitler regime. Utilizing historians and art scholars instead of the stereotypical war veterans, The Monuments Men are on a mission to salvage as much stolen art as possible, before The Reich destroys an entire culture’s historical achievements.

Clooney has assembled an impressive roster for his ragtag band of misfits: Matt Damon, John Goodman, Bob Balaban, Hugh Bonneville, Jean Dujardin and even the elusive Bill Murray round out the troop. He even manages to recruit one of the best actresses working today, Cate Blanchett, for a supporting role as curator who reluctantly agrees to assist a government she has no reason to trust.

By all accounts, this film has an Oscar-winning pedigree. So why does it feel like it just misses its target?

By choosing to focus on the camaraderie of these men instead of the horrors of World War II, Clooney casts a definitive eye on the 40’s-inspired tone he chooses for the film. Established with his previous directorial efforts, Clooney has an obvious love and appreciation for the Golden Age of film, and his style completely compliments it.

Where the film struggles is in its bouncing-betty narrative. While each of the performances are delightful and poignant, and there are several moving scenes in the film (especially Murray’s reaction to a Christmas record from his family while abroad), the final third of the film just feels plodding, and still somehow rushed. As the end drew near, it felt more like a sort of tacked-on epilogue than the rousing conclusion the film deserved.

That complaint aside, it is hard not to enjoy the various character moments throughout. This is a cast that would be hard pressed to deliver anything less than a smile given even the harshest of scripts. Clooney is Clooney in Danny-Ocean-mode; as essentially the narrator of the piece, his role is the most by-the-numbers. Damon showcases that easygoing charm that we rarely see from him anymore, while Blanchett casts her infectious spell on him (and us) in every frame. Murray and Balaban are easily the most amusing of the assembled men, playing off each other like a retired vaudeville act, while Goodman and Dujardin inject a simple warmth into the film that it sorely needed.

As I said above, Clooney and Co. are not setting out to make a film detailing the perils of war, we have seen that 1,000 times before. This film is about the relevance of culture in any society, and the importance of preserving that culture, even in times of crisis. Sure, it has moments that scream ‘Message Movie!’, but Clooney has a class and restraint as a director that keeps these moments short and sweet. This is a story not seen on film before, and one that fans of all forms of artistic expression should appreciate and reflect upon.

The Monuments Men has a few issues that keep it from becoming the Oscar bait it is obviously striving for, most notably the meandering of the final act. Yet, it still remains an engaging throwback to films of yesteryear with entertaining performances and a story that finally offers us a new spin on a tired genre. This is platoon I would gladly follow into battle again.

If $10 is the full price of admission, The Monuments Men is worth $7