Transit - Movie Reviews - Rotten Tomatoes

Transit Reviews

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May 18, 2019
Captures the horror of it all.
May 12, 2019
Pretentious and if something significant were being addressed.
½ April 20, 2019
Truly horrible movie. Trying to stuff migrant problems down our throats. Totally bad. I now question your ratings.
½ April 20, 2019
I think I've seen this movie ten times in my life.
April 18, 2019
Abstract Euro Garbage. Take a big pass. And it makes no sense either.\
½ April 15, 2019
A very good adult movie that requires some intelligence to follow the plot. Th acting is excellent. In watching this movie there isn't a moment that isn't stirring and intriguing. The ending, after some reflection, makes sense and leaves one desolate. It is after all a wartime movie.
½ April 8, 2019
OK, I, for one, didn't get that it was an ambiguous time period. I assumed it was WWII France and let it go at that. It was only when the Talking Heads' "Road to Nowhere" came on at the end that I got a clue.
April 6, 2019
I don't know what rating to give this film. I didn't walk out, and stayed interested, so 3/5?
Here's the thumbnail sketch I would provide for the curious: This film is set in the present day, but depicts the panic which ensues as Nazi forces make their way through conquered France, and refugees are desparate to leave the country to the Americas. That's pretty straightforward, providing the audience with a new way of empathizing with people fleeing ahead of fascist forces as they move relentlessly south, from Paris to Marseilles, eventually cutting off all escape routes. Kind of like Casablanca in 2019, yes?
Except, there's additional layers of weirdness layered on top of that story. We don't really know why these refugees are targeted. They aren't identified clearly as being Jewish, for example. The mother and son in Marseilles who need to escape over the Pyrenees are of African descent, which makes sense, but I have no idea why Georg, the German lead character, was in flight. Also, the character Marie, widow to a writer we never see, appears mysteriously from time to time, mistaking Georg for her husband, then getting caught up in a strange arrangement with him, where she insists her husband will meet her on one of the last ships leaving Marseilles. There's also an occasional enigmatic narrator, who turns out to be the bartender in a restaurant that is frequently shown.
Frankly, I found Marie to be irritating. Georg seemed as confused about her as the audience. Franz Rogowski, who plays Georg, is a dead ringer for Joaquin Phoenix, right down to the upper lip scar, but he has trouble enunciating his lines clearly. Maybe that's why the Nazis want to send him to a camp?
A contemporary setting of Nazi fascist terror is brilliant and important. I appreciate why North African residents of France were shown to be persecuted. That message was clear. But I don't see why additional perplexing and inexplicable elements were necessary. They seem to be the product of the filmmaker's storytelling conceit, or my ignorance.
April 5, 2019
it seemed like a poor producer's attempt at casablanca, but without the old cars and sets.
April 1, 2019
This is an interesting film that follows several people through an interconnected relationship. The story is engaging and pulls you in for a great ending.
½ March 30, 2019
One of the best movies so far this year. I really loved it. So original and well done across all levels. I loved the intermixing of modern day and the past. It is a statement on all marginalized people in history. I do admit the ending was a bit puzzling as not sure what happens. I believe that is on purpose for the audience to make their own assumptions.
½ March 30, 2019
Very well written and acted. Says a lot about love and relationships....
March 30, 2019
really disappointing - could have and should have been a smart film but it got so into its own twists and turns as to become absurd.
March 28, 2019
Transit, directed by Christian Petzold, an adaptation of Anna Segher´┐ 1/2 1/2 1/2 1/2(TM)s 1942 novel ´┐ 1/2 1/2 1/2 1/2Transit Visa.´┐ 1/2 1/2 1/2 1/2´┐ 1/2 1/2 1/2´┐ 1/2 1/2´┐ 1/2┬? On its face, the storyline is one of a German refugee, Georg (Franz Rogowski), who flees Nazi occupied Paris for Marseilles, and who, upon arriving in Marseilles, fatefully crisscrosses paths with a woman named Marie (Paula Beer), the wife of a dead writer whose identity he has assumed. The true storyline, however, is not so simple, as we discover a greater story about how one man discovers the power of love amidst the human travesty of ethnic cleansing, whether it´┐ 1/2 1/2 1/2 1/2(TM)s with a young boy seeking connection after his father has died, or with Marie, a woman ironically and frantically attempting to regain a connection with her dead husband. As an art film, Petzold´┐ 1/2 1/2 1/2 1/2(TM)s film is more than an adaptation of Segher´┐ 1/2 1/2 1/2 1/2(TM)s novel - it is a conceptual innovation as Petzold melds a Nazi-era story into modern day aesthetics in Marseilles where it is filmed, making the connection to current day anti-refugee sentiment in Europe where the present mirrors the past. Petzold's conceptual innovation for his story never overrides the baseline human element, the reversals of fates, the ironies, the passions, and the fight for survival. Rogowski's portrayal of a man with emotional urgency was a necessary consistency among a tangle of desperate and indecisive characters. At the post-screening Q & A, in answering a question I posed, Rogawski claimed that the choice of The Talking Head´┐ 1/2 1/2 1/2 1/2(TM)s ´┐ 1/2 1/2 1/2 1/2Road to Nowhere´┐ 1/2 1/2 1/2 1/2´┐ 1/2 1/2 1/2´┐ 1/2 1/2´┐ 1/2┬? during the closing credits did not have any particular significance to the fact the film concludes unresolved, but I would like Christian Petzold to weigh in on whether there was a mindful element in selecting this singular American song for the film.
March 24, 2019
Excellent job, shows you everything without telling you anything, the plight of refugees and occupied countries. The original narrative was about escape from Nazis, but the choice to set it in modern day and remove datedness and Nazi symbolism makes the viewer go through the experience with the characters and not hide behind a curtain of history. Smart choice, really great acting, wonderful script. Definitely worth rewatching
March 23, 2019
Wow, I really did not expect this to be so good. Absolutely worth the watch in theaters. I would recommend going in with an open mind, and without planning.
March 22, 2019
Good Acting, Bad Production
March 20, 2019
Very Interesting and Different
½ March 20, 2019
Mourn For The Greater Good.


Petzold works on the vibes of the film. He is very careful about the fact of how the entire thread comes off to the audience. There is catharsis in your lungs when the air turns into navel-gazy nail-biting drama. This is where Christian Petzold; the director's, target lies. He feeds off on this energy and so does their character. Personally what appealed to me the most from the film is the calmness it conjures on the screen despite of the high stakes threats ticking behind these characters.

The protagonist, when alone, is always on the run, initially physically and latter in the film from his thoughts. But when he shares his screen with a boy having a catch or two, or having a cup of coffee in the cafe with a fellow being, there is a soothing humble look in his eyes where you find yourself sinking peacefully, a bit wounded, but satisfied. This mirror-like trajectory to Michael Curtiz's Casablanca rebooted with a style that matches the comparison it comes with.

The novel by Anna Seghers from which Petzold adapted the film, has had the essence of triggering impactful drama within a snap and Petzold has definitely encouraged that in here, from deriving the first meeting by iterating the scenario variously to bonding over a quick game that creates a heartwarming equation within a snap. Georg (Franz Rogowski) our host is pretty much reading someone else's diary throughout this journey, he is always the third person in the room that allows us to welcome him with open arms as he shares the same stage with us, while the other supporting cast does a decent work on advancing the storytelling. Transit is neither a romance nor a thriller, it is a typical drama that works it's way up the ladder through empathy and not manipulation.
½ March 17, 2019
Had this movie been placed in proper WWII time and dealt with the real refugees of Hitler's Europe it would have been powerful indeed. However placing it in limbo and universalizing the people and depriving it of any real connection to history it loses all sense. I am afraid that it represents another attempt to remove Jewish suffering from the historical period.
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