I found the review; here it is:
George Clooney's WWII movie 'The Monuments Men' never finds a cohesive identity (C)
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By CHRIS VOGNAR
Movie Critic
cvognar@dallasnews.com
Published: 06 February 2014 12:47 PM
There’s a good movie dying to bust out of The Monuments Men, the strangely torpid new World War II movie about the fight to rescue masterpieces of world art from Nazi clutches.
Based on the nonfiction book by Dallas’ Robert Edsel and Bret Witter, the movie has the settings for a feast: charming stars, far-flung locales, high cultural stakes. When you realize it’s not coming together, your first impulse is to ask: What happened?
There were signs of trouble when The Monuments Men was bumped from the prestigious year-end schedule and set aside for reconstructive surgery. Apparently the procedure didn’t take. Sequences of the jocular male bonding we expect from director-star George Clooney collide with grave tales of war’s sacrifice and civics-lesson lectures on art’s cultural necessity. A movie that should be fraught with urgency instead sputters from
episode to episode.
None of it is particularly terrible; small pieces are quite compelling. But a movie with even half The Monuments Men’s aspirations needs a personality and a swift narrative thrust. As it is, the movie feels as scattered as the Rembrandts, Picassos and other art jewels strewn throughout Germany.
It’s hard to blame Clooney for seeing the premise’s potential for fun. The assembled art experts (Clooney, Matt Damon, John Goodman, Bill Murray, Jean Dujardin, Hugh Bonneville and Bob Balaban) are classic fish out of water, unaccustomed to firearms, combat, commanding officers or other staples of This Man’s Army. They’re a little like the Hollywood filmmakers who join the war effort to shoot high-grade propaganda in Mark Harris’ upcoming nonfiction book Five Came Back. They have an important job, and they have the passion to carry it out.
Most of that passion gets lost on the way to the screen, though you can still locate the fragments here
and there. Cate Blanchett smolders as Claire Simone, based on the French art historian and Resistance fighter Rose Valland. Greta Garbo would love this performance. She might also wonder why it seems to exist in a different universe from everyone else in the movie.
That’s what The Monuments Men needs: cohesion, glue, a unifying vision of what it wants to be and how to get there. If that sounds simple, it really isn’t. When you think about it, with so many moving parts and personalities in the mix, it’s a marvel that any movie comes out feeling fully cooked — even when the ingredients are the best available.
THE MONUMENTS MEN (C)