Methinks thous readest too much into it.
Well I hope so. Consider, however, that I am reading her in light of what she doesn't say as much I am in light of what she positively asserts.
In my opinion, if Matthews-Green properly appreciates the significance of the historical reality of Christ's human sufferings, then her critique shouldn't have been so one-sided.
When I first saw 'The Passion' I was personally very moved, not because I felt sorry for Christ, but because I was graphically reminded of the extent of His Love—of the fact that, although being the impassible and transcendent God, He, of His own will, humbly assumed true flesh, and consequently experienced (again, of His own will) genuine human pain, suffering, and ultimately death, for our sake.
I was very conscious of the fact that throughout the entire course of His Suffering, He was conquering suffering—at no point did I pity Him (the only one I could pity was myself, as I was prompted to reflect upon the fact that despite the measures He took for my sake, I have yet to reciprocate an infinitesimal measure of His Love) yet at the same time I realised that He could've so conquered suffering and death through any other means had He so willed (after all, He is God). But He chose to suffer. Not in appearance, but in reality.
That's how I apprehended the movie when I first viewed it; it was an artistic reinforcement of the historical reality and genuineness of Christ's Passion—a reality and genuineness that serves as concrete evidence of His Love. Later on, as I got deeper into Christological and Soteriological studies, I came to a more refined understanding of just how that Love was effected as I came to further appreciate the idea that the historical reality and genuineness of Christ's suffering is the foundation of our own hope to be freed from the suffering of this age and world; a reality and genuineness that the Church has gone to lengths to defend since time immemorial.
Ultimately, like any form of art, Gibson's movie is not self-interpreting. It is what the viewer makes of it based on their own presuppositions. In my opinion, a good Orthodox response to 'The Passion' would aim to reinforce the Orthodox presuppositions through which the film should be viewed so as to encourage an edifying apprehension of and reflection upon the movie. Absolutising a particular and negative take on the movie is not only theologically narrow, but philosophically absurd (in my opinion at least).