Is The Enemy Worth Watching?
Answer: Maybe not, The Enemy is likely a skip if you enjoy Drama movies.
It features a runtime of 125 minutes and offers a standard storyline that appeals to general audiences.

Verdict:The Enemy is a confirmed FLOP based on our analysis of audience ratings and box office momentum.
With a rating of 5.0/10, it has delivered a mixed experience for fans of the Drama genre.
Answer: Maybe not, The Enemy is likely a skip if you enjoy Drama movies.
It features a runtime of 125 minutes and offers a standard storyline that appeals to general audiences.
Last updated: January 13, 2026
Released in the dynamic cinematic landscape of 1980, The Enemy emerges as a significant entry in the Drama domain. The narrative core of the film focuses on a sophisticated exploration of Ismail (Aytac Arman) is the educated Turk who travels to Asia from Istanbul to escape crushing unemployment in this somber social drama. Unlike standard genre fare, The Enemy attempts to deconstruct traditional tropes, offering a conventional take on its central themes.
The screenplay, appearing to prioritize narrative momentum and immediate impact, sets a stage where the stakes feel personal yet universal. Under the directorial eye of Zeki Ökten, every scene is crafted to contribute to the atmospheric weight of the story, ensuring that the Drama elements serve the larger narrative arc rather than just providing spectacle.
The success of any Drama is often anchored by its ensemble, and The Enemy features a noteworthy lineup led by Aytaç Arman. Supported by the likes of Güngör Bayrak and Ahmet Açan, the performances bring a palpable realism to the scripted words.
Performance Analysis: While the cast delivers competent and professional performances, they are occasionally hampered by a script that leans into familiar archetypes. However, the sheer charisma of Aytaç Arman, Güngör Bayrak, Ahmet Açan manages to keep the audience invested through the film's more predictable sequences. In the broader context of 1980 cinema, these performances stand as a testament to the evolving standards of acting within the Drama space.
From a technical perspective, The Enemy is a marvel of 21st-century filmmaking. The cinematography, utilizing a moody and atmospheric color palette, significantly enhances the world-building aspects of the production. Each frame seems calculated to guide the viewer's emotional response, whether through wide, sweeping vistas or tight, claustrophobic close-ups that emphasize character isolation.
Technical Excellence: The production design and visual effects provide a solid foundation for the story, ensuring that the world of the film feels lived-in and authentic, even when the narrative logic falters. Furthermore, the sonic landscape—comprising both the score and sound design—adds a layer of subtextual narrative that rewards attentive viewers.
The structure of The Enemy follows a sophisticated brisk pace. Over its 125 minute duration, the film manages to balance exposition with action in a way that remains consistently entertaining. The second act, often the most difficult to manage, serves here as a crucible for character growth, leading toward a climax that feels both inevitable and surprising.
Critically, the editing choices by the team help maintain a narrative tension that rarely wavers. The sharp, concise editing ensures that not a single frame is wasted, making the film ideal for a modern audience that values efficiency in storytelling.
Beyond its immediate entertainment value, The Enemy resonates with contemporary social and cultural themes prevalent in the Drama landscape of 2026. It addresses concepts such as the nature of heroism and personal legacy with a level of maturity that is often missing from major releases.
This cultural relevance is likely why it has garnered a 5/10 rating on our platform. Films like this bridge the gap between niche interest and global appeal, proving that stories rooted in specific human experiences can find a home with audiences worldwide, from the US and UK to India and beyond.
Analyzing the plot deeper, The Enemy is more than just its synopsis. It is an inquiry into the complexity of relationships. Ismail (Aytac Arman) is the educated Turk who travels to Asia from Istanbul to escape crushing unemployment in this somber social drama. With an ailing mother-in-law, a bitter wife, and a pretty young daughter to support, he takes a job as a dog killer. Ismail is saddened to see young women his daughter's age forced into prostitution. When he returns home to ask his father and brother for an advance on his inheritance, his wife leaves him. The enemy in question refers to unemployment.
The philosophical underpinnings of the third act suggest a worldview that is standard for its genre yet executed with high professional polish. This is not just a commercial product; it is a piece of art that invites discussion long after the credits have finished rolling.
In summary, our editorial assessment of The Enemy (1980) is overwhelmingly divisive. With an audience rating of 5/10 and strong performance metrics in the Drama categories, it stands as a highly recommended experience for genre enthusiasts.
Whether you choose to experience it for the stellar performances from Aytaç Arman, Güngör Bayrak, Ahmet Açan or the visual majesty of its technical execution, The Enemy is a significant contribution to the cinema of 1980. It represents the kind of filmmaking that movieMx is proud to champion—original, bold, and ultimately, deeply human.
Analyzing the audience sentiment, IMDb rating of 5/10, and global collection metrics, The Enemy stands as a challenging project for the creators. It remains an essential piece of the 1980 cinematic year.
The Enemy has received mixed reviews with a 5/10 rating, making it a moderate success with the audience.
The Enemy is a mixed bag. It might be worth watching if you're a fan of Drama movies, but read reviews first.
The Enemy may be available for rent or purchase on digital platforms like Apple TV, Google Play, or Amazon Prime Video. Specific streaming availability can vary by country.
Ismail (Aytac Arman) is the educated Turk who travels to Asia from Istanbul to escape crushing unemployment in this somber social drama. With an ailing mother-in-law, a bitter wife, and a pretty young daughter to support, he takes a job as a dog killer. Ismail is saddened to see young women his daughter's age forced into prostitution. When he returns home to ask his father and brother for an advance on his inheritance, his wife leaves him. The enemy in question refers to unemployment.