The Baader Meinhof Complex (2008)

Jones finds the story absorbingly told and the film gripping. He particularly praises its portrayal of the volatile Andreas Baader and disillusioned Ulrike Meinhof.

Newman calls it fascinating history and a very good, demanding film, though its lack of easy answers may frustrate some viewers. He praises Martina Gedeck’s performance and the film’s vivid cast, while noting its commitment to historical complexity over comforting explanations.

French finds the film a powerful, clear-eyed account of the RAF and the forces surrounding its rise. He praises its factual exposition and refusal to make easy judgments.

The critic finds the film a compelling, relevant character study, though some key character transformations remain unexplained. She praises its focused portrayal of the women and the editing and cinematography that convey the period’s fear and upheaval.

The critic finds the film relevant, thought-provoking and highly watchable, while noting that it approaches the edge of glamorising terrorism. They particularly praise Martina Gedeck’s finely graded performance as Ulrike Meinhof.

The critic finds the film politically muddled and ultimately disinteresting. He praises Edel’s ability to make the action sequences tense, despite the weak emotional stakes.

The critic finds the film both fascinating and frustrating. The review singles out its portrait of the formation of the group as compelling but uneven.

Turan finds the film a fascinating but pulp-styled treatment of a serious subject, leaving viewers free to decide how seriously to take it. He praises the strong German cast and the film’s vivid capture of the era’s revolutionary fervor.

Brody finds the film’s political perspective compelling to contemporary audiences but ultimately too narrow and selective. He faults its omission of the Cold War context, especially East Germany’s role and the Berlin Wall.

The critic finds the film overstuffed and largely humdrum, with little exploration of its characters or the RAF’s ideology. Johanna Wokalek’s vivid performance as Gudrun Ensslin is singled out as the film’s strongest asset.

The critic finds the film dull and unimaginative despite the importance of its subject. They fault its relentless gunfire and chronology for sacrificing narrative cohesion and thoughtful pauses.

Robson finds the film gripping and powerful at its best, but says its crowded story ultimately becomes incoherent and feels only half-told. He particularly praises the excellent performances and singles out Moritz Bleibtreu’s portrayal of Baader’s narcissism and self-delusion.