Critic Reviews



Based on 26 critic reviews provided by Metacritic.com
The characters are so well drawn (and the relatively young cast steps up to the plate) that combined with the material’s natural tension you’ll find yourself riveted to the proceedings.
It’s clear from the way writer-director Martin Zandvliet sets up the story that the fiery Rasmussen, who denies the boys adequate rations and pens them indoors at night, will eventually soften. It’s to the film’s credit that he does so in ways that are eminently believable.
The film works as a moving anti-war essay and as a gripping thriller.
Zandvliet’s script and direction avoid milking an innately loaded situation for excess melodrama or pathos, sticking to a discreet economy of approach that accumulates considerable power.
Crisply and efficiently put together by writer-director Zandvliet, Land of Mine has the inherent edge-of-your-seat concern about what kind of damage the bombs will inflict on which of these boys, but it is the psychological qualities of the situation that hold the greatest interest.
Again and again, its stark and suspenseful compositions strike the eye — figures in dark clothing, prone on a pale beach, with lines of wire, black warning flags, and the chill gray waves beyond.
An act of expiation, Land of Mine is honorable, harrowing and stirring.
The cheesiest thing about it is the punny English-language title with which it’s been saddled. Otherwise, Land Of Mine is tough and admirably grim, turning a harrowing history lesson into a study in how the battles of wartime don’t always cease with the ceasefire.
Despite the sense of fatalism and some clumsy turns in Zandvliet’s script, Land Of Mine achieves moments of chilling suspense.
Village Voice
The film is sometimes too sentimental, too predictable in its drift, but electric in individual moments.

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