Bad Acting and worse Bad Screenplay

It's an amazing and heartbreaking story.

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

The acting is good, and the firecracker script has some excellent ideas.

This very moving 2009 film written and directed by Cherien Dabis could hardly be more timely, what with the current Immigration issues in filibuster in Washington and entry into the land of hope and liberty, so long a dream for many, now a country under close surveillance of individual privacy. This is a film, simple on the surface, but one with a significant message that would benefit all to watch and digest.The story opens in Palestine. After her husband divorces her for a slimmer woman, Muna Farah (Nisreen Faour) lives with her cranky mother and her excellent student son Fadi (Melkar Muallem) in an unnumbered house in Bethlehem. Frustrated by the constant need to cross through insulting armed checkpoints as Muna goes to her bank job and Fadi goes to school, they apply for a visa to escape the Palestinian problems with dreams of an exciting future in the promised land of small town Illinois where Muna's sister Raghda (the always brilliant Hiam Abbass) and her physician husband Nabeel (Yussuf Abu-Warda) live with their daughters. After one last treachery at customs (where Muna's life savings are confiscated) the two arrive in America. Muna is unable to find work in a bank but is secretly employed in a hamburger joint, befriended by fellow worker, high school dropout Matt (Brodie Sanderson). Fadi gets into school but is immediately ostracized by crude thoughtless students for being foreign and therefore a 'terrorist'. Meanwhile Raghda and Nabeel begin to sink into debt when Saddam Hussein is conquered in the Iraqi war and public sentiment is against all Arab speaking peoples. Fadi eventually fights back when the prejudiced students cause an accident for his mother and is arrested for assault, Muna's 'low class' employment is discovered, but when all looks grim the isolated family is befriended by a friendly Polish Jew educator Stan Novatski (Joseph Ziegler), by Matt, and by a worker in the bank that couldn't hire Muna. At least the spirit of a few can intervene to alter Muna and Farid's view of their new home.Writer/Director Dabis based this story on her family's memories of their lives in rural America during the first Iraq War. It is a potentially painful story to experience, but Dabis fills the dialogue with enough good natured humor that the point of the film is made without excessive preaching yet enough of the realities immigrants from the Middle East face to make the film unforgettable. Excellent performances from a fine cast. Grady Harp

"Amreeka" has, I would say, all the freshness and the weaknesses an indie movie comes with. Being about a family of Palestinian immigrants struggling to find their way in America and facing all kind of anti-Muslim and anti-Arab stereotypes, this movie cannot escape its own stereotypes. It is a movie that looks schematic in many of its moments. Not in all moments, let's be clear on this point. It is a movie breathing of sincerity and it has a certain pathos. However, sometimes it seems that it gathers all the bad guys on one side and the good guys on the other (you can guess who are the bad guys, and who are the good ones). And after all these, the end seems idyllic; they want to send the good message so to speak, only I'm wandering whether it happens like that also in real life.Well, one can say that this movie is dealing with a reality which is by itself schematic. This is true: bigotry of any kind is always schematic (to name the least of its sins). The problem is that a movie has an artistic reality of its own, and this artistic reality must be convincing, regardless how schematic the depicted reality could be.The great asset of this movie is the lead actress, Nisreen Faour. She creates an unforgettable personage, with passion, with honesty, with conviction and stamina. And she is so amazing that the whole movie is contaminated by her enthusiasm and good will.Let me mention here also Hiam Abbass , a very good actress that I have also seen in many other movies (The Visitor, Munich, Paradise Now, The Syrian Bride).

I seldom comment on movies here but felt compelled to comment on this one. I say "not what you might expect" because I think a lot of people's reactions to this film are going to be heavily influenced by preconceptions about what this film is supposed to be "about." I can't blame them; if I heard that this was "a film about an Arab family's struggles after immigrating the USA after September 11th," I'd probably groan because I'd have certain expectations too. But this is not a "message" film, and if you go into it looking for messages, you're going to miss the point. Rather than political, this film is personal. You could call it simple, but it's not simplistic. Far from it; it refuses to reduce the subtlety and nuance of life to overt messages. I think that an honest, objective viewing of this movie will reveal that, the "stereotypes" and "simplifications" that some reviewers are seeing, were brought in by the reviewers themselves. This is not a perfect film, but it has a lot more depth, beauty and truth than most family dramas, and certainly more than the didactic work one might expect.

Amreeka (the Arabic word for America) is a humorous and warm-hearted first feature from Cherien Dabis that follows a Palestinian woman, Muna (Nisreen Faour) and her sixteen-year-old son, Fadi (Melkar Muallem) from the checkpoints of the West Bank to the checkmates of racial animosity in a small town in Illinois near Chicago. Set in 2003 at the start of the Iraq War, Muna leaves Bethlehem because she desires a better life for her son and can no longer put up with overbearing Israeli police, the harangues of her elderly mother, and reminders of her philandering ex-husband. The opening sequence in which Muna is ecstatic about receiving her Green Card in the mail and says tearful goodbyes to her family on her way to America joyously captures the closeness of family and their caring for each other in a lighthearted manner.Unfortunately in the rest of the film things do not go as well for the young family. They have to deal with numerous incidents of overt and covert racism including bullying at school as they try to adjust to a new home and a new country. Things start off badly when Muna and Fadi are harassed for three hours at the airport by Israeli customs and a tin box filled with cookies and all of their savings are handed over by Fadi to customs officials. Fadi does not say anything to his mother about this (a most unlikely circumstance) and the loss is only discovered after the two arrive at the home of relatives in Illinois. From there, things go steadily south. Muna tries to get a job in her profession in a bank but is rejected by employers who look at all Arabs as potential terrorists.Ending up working at a burger joint, Muna conceals her employment from her relatives, pretending to work at a bank close to the restaurant, but her shame is apparent. Meanwhile Fadi is tormented by school bullies who call him Osama and her relatives begin to bicker over their increased expenses at the time when the family breadwinner, a physician (Yussef Abu Warda), is losing clients because of his Arab appearance. While people need to be reminded of the hurt of racism and the Arabs contribution to the world, Amreeka offers one contrived subplot after another in which Americans are caricatures of either hate-filled racists or Christ-like saviors like Mr. Novatski (Joseph Ziegler), Fadi's principal (who happens to be Jewish).What could have been an excellent opportunity to explore the problems of assimilation or the treatment of minorities instead becomes a litany of clichés. There is no mention of 9-11, issues involved in the Israeli-Palestinian conflict, or the problem of bullying in schools, and the possibility of involving teachers, school officials, or even the neighborhood church in helping the immigrant family to cope are not examined. While Amreeka has moments of charm and likability and the performances are excellent, the exercise quickly becomes a big screen version of "As the World Turns", doomed by an overly simplistic approach in which victimization substitutes for cooperation in finding solutions.