An American man goes on a vacation to flee his life, in the process finding love and cosmic terror.
An enduring piece of cinematic terror: Steven Spielberg's JAWS.
Interstellar. 2014. Directed by Christopher Nolan. Starring Matthew McConaughey, Anne Hathaway, Michael Caine, Wes Bentley, Jessica Chastain, Jon Lithgow, Mackenzie Foy, David Gyasi, Casey Affleck, William Devane, David Oyelowo, Casey Affleck, Matt Damon, Topher Grace, and Leah Cairns. Paramount Pictures. Rated PG. 169 minutes. Adventure/Drama/Sci-Fi
I was excited to see Christopher Nolan’s Interstellar for a number of different reasons. One of those being I have really enjoyed Nolan and his films since first seeing Memento, and then going on to explore the other films he would continue to make, as well as going back to his excellent feature length debut Following. Second, I’ve also always liked Matthew McConaughey. Dazed and Confused was a staple of my first years at university, and no matter how many terrible rom-coms, et cetera, he went on to do before coming into his real own as an actor I could never get enough of his sly charm. On top of all that I’m a big fan of science fiction, so Interstellar looked from the beginning of its announcement to be something worth getting excited over in the genre.
The story of the film is similar to others, in that Earth has been devastated in the future, so scientists and great minds alike have been trying to figure out ways to either sustain the planet or find somewhere new to colonize and continue on with mankind’s ultimate fate. Ex-NASA test pilot Cooper (Matthew McConaughey), along with his daughter Murph (Mackenzie Foy), end up stumbling upon a top secret facility out amongst the desolate cornrows and dust storms of the now desert-like conditions near their home. When they do, it comes to their surprise scientists have been working on finding another planet so as to get human beings away from Earth, in order to try and avoid extinction. Cooper is recruited to go into space along with several others, and tasked with finding a planet suitable for sustaining human life.
I’ve really got to say, I was pretty bored for the first hour or so. However, once the mission sort of kicks into gear things got interesting. I’m not one of these people who needs constant action, of any sort, to keep me occupied. This is not my style. I just couldn’t get into the beginning of the film, honestly. Though, I enjoyed the characters, especially Cooper and his family; the dynamic between McConaughey and Foy as father-daughter was great, plus John Lithgow is always a damn treat for me.
I like the character development in the family, particularly McConaughey – throughout the rest of the film after all the initial setup falls into place, his struggle is some of the most interesting stuff that’s going on. Nolan has stated this is very much a human film about families, in a sense, and I do not disagree with that whatsoever. Cooper goes through a great struggle, especially in the early part of Interstellar. It’s incredible, and heartbreaking, to imagine what things would have to be like for astronauts who will eventually have to deal with time shifts and other such problems – going into areas of space where one hour there equals a year or more on Earth. Of course, McConaughey does a fabulous job with the character of Cooper. He’s turned into one enormous, powerhouse of an actor.
There are a couple other notable performances I did enjoy other than McConaughey. I usually love Jessica Chastain – here, no different. She provided just enough of what I hoped the character Murph would come to be, and once again proves she has real talent – some of the moments with her came off extremely emotional, very genuine. Aside from their physical resemblance, Mackenzie Foy and Chastain worked well as the same character, younger and older versions respectively; each of them carry the same adventurous and rebel charm.
A few of the smaller roles were done well. David Gyasi did a great job as one of the astronauts along with McConaughey’s Cooper – he kept me interested every time his character was in a scene; one scene I have to mention is after two of the other astronauts return after quite a length of time away, and the way Gyasi played this just felt perfect.
I was particularly surprised, in a great way, to see both Casey Affleck (as the older version of Cooper’s son) and Matt Damon as Dr. Mann. In particular, I really enjoyed Affleck. His voice has something about it which consistently strikes me as interesting, and in this role really fit well with that – though, his role is not exactly major I really liked the scenes he appeared in, especially the videos sent from Earth to his father in space. Excellent choice to include both Affleck and Damon as minor characters because they lend a lot of their excellent talent towards filling out an already pretty damn good cast.
What truly does Interstellar justice overall is the gorgeous cinematography, courtesy of Hoyte Van Hoytema whose work includes Let the Right One In, The Fighter, and Her. This is just truly beautiful stuff. Not only is the cinematography remarkably beautiful to look at, Nolan actually had some set pieces built; for instance, the interior of the space shuttle and such locations. I think this really worked well. Granted, right from the start of any science fiction film, for the most part, you know there’ll be at least a certain degree of computer generated imagery. However, Nolan helps make things a little more real by using these built locations. I loved the spaceship itself. The inside is really wonderful. There will be plenty of comparisons to some of the most famous science fiction films of all-time, and I’m sure Nolan included a couple bits in homage to those, but with the look and feel of the film Interstellar stands on its own. It is most certainly a modern science fiction movie, in terms of views (mostly scientific) presented, and the aesthetic look/feel reinforce this fact.
Added to all this is another fantastic score by Hans Zimmer. Lots of people like to say his composing sounds similar from film to film, and they do, but that’s part of a technique I believe he readily employs; he likes to work with patterns, repetitions, similar cycles. Regardless of that, I love his work, all the time. He does a lot of great composing for Nolan’s films in recent years. This sounds so much different from those other works, and I love that it does because that aspect really sets it apart from Nolan’s other movies – especially his recent work on the Dark Knight trilogy. Zimmer is one hell of a composer. His music lifts so many moments above and beyond what they already were, and kept me so entranced at times it is wild. I really, really could not get enough of the final hour in regards to Zimmer’s score – there was this real fugue-esque sound he achieved, which not only brought the intensity to a higher level but also really made scenes feel incredibly ominous. Great music.
Overall, I’ve got to say this an amazing movie. A definite 4.5 out of 5 stars. The only thing that holds me back from giving Nolan’s film a full 5-star rating is the beginning; I really found it lagged, hard. While it did keep me interested enough to stick with things, and it did not affect my overall opinion of the film too negatively, I still believe Nolan dragged his feet a little out of the gate. Mostly, there was just a bit more talk than I feel was necessary. I love scripts with a lot of dialogue. Here, I just felt as if there was almost too much an emphasis on worrying about explaining things – as if the Nolan brothers were anticipating the usual hordes of people looking to debunk every single sentence and bit and piece of a science fiction film. In lieu of including a lot of scientific talk about space travel, et cetera, I think the film could’ve cut out at least 15-20 minutes and not been hurt in any way. Despite that, Interstellar is a truly wonderful movie full of all the things I love about science fiction. It does have its own message, but I think one of the great things is the fact the movie addresses human intervention/the advances & mistakes of humans themselves into the whole concept of interstellar travel better than I could have imagined – especially once Cooper meets Dr. Mann, and the events that follow on to the end of the film. Nolan really has great ideas; very human, very existential. Not only the way he makes films, the way he writes and thinks of/explores themes is also pretty excellent. See this movie, enjoy it. There are great performances, a very nice script full of adventure, spectacular sound design and score, plus great imagery. This is one wild science fiction epic by a continually innovative filmmaker.
Star 80. 1983. Directed & Written by Bob Fosse. Based on an article from Teresa Carpenter.
Starring Mariel Hemingway, Eric Roberts, Cliff Robertson, Carroll Baker, Roger Rees, David Clennon, and Josh Mostel.
Warner Home Video.
Rated R. 103 minutes.
★★★★I’m not particularly huge on Bob Fosse, though, I do like his films. He does have a nice perspective on things, as far as I’m concerned. Fresh filmmaker. Then when I saw Star 80 there was something about it which really spoke to me.
The story of Star 80 is a true story of former Playmate of the Year Dorothy Stratten (Mariel Hemingway), who was later murdered by her husband Paul Snider (Eric Roberts). At the time, the two were separated because of marital problems such as Snider’s reluctance to let her have any independence. The film chronicles Stratten’s rise from fast food waitress to Playboy Playmate hanging in Hugh Hefner’s (Cliff Robertson) mansion, rubbing shoulders with some of the biggest stars of the day. Snider was the first one to notice how “model beautiful” Stratten was, and believed because he essentially found her it was his claim to fame. However, soon Snider would realise her fame was her own. He could not accept it. One thing leads to another, as Snider gets more and more controlling, until everything spirals out of control completely.
This was a story I’d never heard before. Whatsoever. I like to think I’ve heard a lot of pop culture stories, especially really crazy ones and those involving crime/murder, but of course, one person can’t know everything – right? I was absolutely amazed once I saw Star 80. This was not my first experience with Bob Fosse. He is a fascinating talent, there is no doubt. Great director. He has made some definitely unique choices, as far as what he directs. Interesting resume. This is not a strange film, but it’s most certainly a dark one. Deep dark. Although not a stranger to the darkness – Fosse did direct both Cabaret and the biopic of Lenny Bruce aptly titled Lenny, which are each dark in their own rights. Although, Star 80 is a much more sinister level of dark than anything else in Fosse’s excellent filmography. Still not a surprise. Even in All That Jazz, a partly biographical and ridiculously honest movie, there’s a certain level of despair. Really a man who is not afraid of darkness, at the very least. It helps here. The story itself is one of fame, murder, misogyny, and the broken search for the supposed American dream (or better yet – the American nightmare as it were).
There are two pretty nice performances in Star 80. The most incredible of them all is, most obviously in my mind, Mr. Eric god damn Roberts. I’ve always enjoyed him. Personally, I love his sister a lot, too. But I think Eric doesn’t get the credit he deserves. While he’s beginning to experience a resurgence a little now since his appearance in The Dark Knight, I still think his work is under appreciated. Star 80 pretty much all but proves my point on its own. His performance is so ridiculously creepy right from the get go. Most people might say it’s his 1980s pornstar moustache. It isn’t. Roberts’ whole demeanour, from the eyes to the look across his face, it all just makes me cringe a little. Not to mention the rambling, talking to himself, ranting. It’s a very unsettling character for Roberts to inhabit. This is how we start the film out – shots of Stratten and Snider pacing, talking to himself, bloody. Usually it doesn’t make things very interesting to begin from the end, especially giving us a more clear idea of what’s happening as opposed to something vague, but Fosse knows a lot of people (most certainly at the time the film was made) would certainly know the story anyways. So he opts to really dive into the character of Snider. While it’s a focus on Stratten overall, Fosse wants to get at the pathology of the man who ruined her life. Roberts does so much nice work in this movie. I’ll forever be a huge fan.
Mariel Hemingway does well playing Dorothy Stratten. Most people often assume the Playboy Playmates are a bunch of bimbos. Certainly that was the case back in the 1980s. I don’t doubt ideas about women who pose nude back then were worse than now – and that’s not to say things are good fro them, or any women, nowadays either. Hemingway shows Stratten as a conflicted woman, but not stupid. We see Stratten get juggled between men. As Snider rules over her life until it makes her snap, the next man she moves onto is basically managing her life just the same. She goes from one guy to another being controlled. Though, it’s not particularly strong of her to go from one relationship to the next under near similar circumstances, I still believe Hemingway shows the strength Stratten had to at least try and face Snider herself – while everyone tried to make her not confront him face to face, she wanted to give him one last bit of dignity. Unfortunately for Dorothy, this was the final thing Paul Snider needed from her, and then he used this very thing to murder her. It’s so sad this happened. I hate to say I enjoyed a film about someone’s murder, however, I do believe Hemingway gave a good performance. There’s at least something good about this aspect.Most certainly one of my favourites in Bob Fosse’s filmography. He is an interesting guy. If not a bit of a dirtbag according to his own creation, All That Jazz. Regardless, I do like the way he makes movies. Unique filmmaker. Star 80 is his version of the tragic true story of Dorothy Stratten and her collision course with the hurricane that was Paul Snider. The performances by both of the film’s stars, Mariel Hemingway and Eric Roberts, help all the emotions come across as they’re meant to play with the audience.
One of the downsides about this movie is the really awful performance of Cliff Robertson as Hugh Hefner. First of all, he didn’t do a really good job at doing a Hefner impersonation – you don’t have to do a caricature, but it was really one of the worst celebrity-playing-celebrity roles I’ve seen (and I’ve seen almost 4,000 films… I’d like to think I’ve learned something). Second, I don’t know Hugh personally, clearly, but I do not think this was a good representation of who the man really is because I see him as a pioneer, someone at least partly interested in women’s rights. This didn’t make him out in the greatest light really. Though, it didn’t make him appear to be a piece of shit. Either way, I did not really enjoy Robertson’s performance here.
Everything else was fairly spot on. I highly recommend any fans of true stories, as well as Fosse fans, check this out if they can find a copy. Hard to get. Worth it.
L’inconnu du lac (English title: Stranger by the Lake). 2014. Directed & Written by Alain Guiraudie.
Starring Pierre Deladonchamps, Christophe Paou, and Patrick d’Assumçao. Les films du losange. Unrated. 97 minutes.
I know a lot men personally who would be uncomfortable watching a movie like Stranger by the Lake. As a straight man myself, I have no problem with queer cinema. Just as I’ve got no issues with homosexuality, transsexuality, anything of any nature similar. I’m supportive of the rights of all human beings to do what they please, so long as it affects no one else. Personal choice is personal choice. That’s also why I don’t shy away from any movies which deal with queer situations, issues, et cetera. For instance, I happen to love Brokeback Mountain while most of my straight male friends would probably make fun of me (nice guys – just not the type who are going to comfortably sit and watch two dudes kiss or make love). I don’t want to particularly see it in real life or in film, as in I don’t find that pleasurable – I don’t mind to see it on film, though, if there’s a purpose. Stranger by the Lake has its own purposes. I think it’s a really exciting movie. If you’re comfortable in your own sexuality, or I guess particularly if you’re gay, you would probably be able to admit it’s a very sexy film, as well. Absolutely a fine dramatic thriller centered around a frequent hotspot for men cruising to find quick lovers, and maybe more – sinister and otherwise.
Alain Guiraudie’s Stranger by the Lake tells the story of a young man named Franck (Pierre Deladonchamps) who spends his summer afternoons hanging around a local swimming spot – a lake where a lot of male bathers, mainly gay men, go to swim and bask in the sun. Nearby, there is a place where promiscuous sexual encounters happen between those who frequent the lakeside attraction. Franck meets a man named Henri (Patrick d’Assumçao) whose wife has recently left him. The young man is not particularly attracted to Henri, but the two form a friendly relationship, and often talk together while sitting and admiring the other men at the lake. Soon, Franck also meets the charming and handsome Michel (Christophe Paou). However, one night Franck secretly witnesses Michel commit a savage act. Yet despite what he knows Franck is intensely attracted to Michel, who he has come to discover is a killer. From here things become very strange, very sexual, and very mysterious.
I think the plot of the film is really a great driving force on its own, but what really makes the movie tick are the performances. It’s all about the chemistry between Pierre Deladonchamps as Franck and Christophe Paou as Michel. They are a pretty good duo. I’m not sure of their real life sexual orientations. Regardless if they are gay or straight, they do a good job acting passionately towards one another. While this is not a pornographic movie, and not even particularly a romantic film either, much of the story relies on the two of them acting off one another. A lot of the film’s tension is built through how we end up feeling about Michel – his interactions with Franck really fuel all the emotions conjured up in us. The two of these guys are really great together. I think Deladonchamps is my favourite. Yet Paou is fairly villainous in a seriously quiet, subdued manner.
Still, I can’t forget to mention Patrick d’Assumçao either honestly. He has a minor role. Though, I do feel there’s something important about him. Not that he comes off as unimportant. I think there’s a certain amount of a polar opposite effect in the character of Henri – while he is just this boring, nice, fragile, hurting man who could probably offer a genuine companionship for Franck, the young man is more interested in a dangerous person like Michel. If you didn’t know what you know about Michel, you would probably understand that Franck would be more intrigued by Michel. On the other hand, knowing what we know it’s that tragic irony visible in the plot that makes Henri a sympathetic character.
This was one of my favourite films of the last year, which was included in the Best Of 2014 list I did recently. It’s nearly flawless. There’s something very exciting and mysterious about the movie, how it flows together, the characters – everything just works, firing on all cylinders. I’ve never seen any of Alain Guiraudie’s other work, but certainly aim to search some out now and watch them. I love a good erotic thriller. As a straight man, I don’t need to watch something about straight people. I hope there are many, many more like me – I know there are because if not these films might not survive to see the light of day, unfortunately. I think this could have been about anybody, regardless of sexual orientation, gender, whatever – this works as a basic concept. Plus, I think these men who acted in the film really pulled it off in a fantastic fashion. There is a lot of tension here, and great chemistry from the nice, tight writing of the script. I’d watch this again any day. Looking forward to eventually picking up a copy on Blu ray. Fantastic film. Highly recommended, but probably only to my cinema lover friends. To those too uptight or not comfortable enough with their own sexuality – get over yourself! You’re missing TONS of great cinema.
Preservation. 2015. Directed & Written by Christopher Denham.
Starring Wrenn Schmidt, Aaron Staton, and Pablo Schreiber. The Orchard. Not Rated. 90 minutes.
I’m a fan of the survival thriller sub-genre, whether it’s something strictly thriller based, or a film that’s a little more horror oriented. I’ve enjoyed films like Southern Comfort, the classic Deliverance, and even horror survival movies such as the 1981 cult classic Just Before Dawn and more recently Eden Lake. Preservation is a pretty good little movie, but fails to reach the heights of the movies I’ve previously mentioned. Christopher Denham (most of you will remember him from various projects as an actor like The Bay, Argo, a small role on The Following, and the excellent sci-fi indie Sound of My Voice) did a really great job directing his first film in 2008 – a found footage horror called Home Movie about one family’s harrowing path to madness. I really loved that movie/own it. While I do enjoy Preservation, and think there are several awesome aspects to it, I don’t enjoy it near as much as his previous effort.
This movie tells the story of Mike Neary (Aaron Staton – most recognizable as the face of the video game L.A Noire) and his wife Wit Neary (Wrenn Schmidt), along with Mike’s brother Sean (Pablo Schreiber – the well-known Porn Stache from Orange is the New Black), who take a camping trip together out into the great outdoors. Mike and Wit are having some intimacy issues, as his job seems to be coming before their relationship – not to mention the fact that early on we see Wit is hiding a possible pregnancy from her husband. Further than that, Mike’s brother Sean has recently come home on leave from the army. Or at least that’s what he first told Sean. Once in the woods, things start to change.
After they go to sleep on their first night out, the three of them wake up: all their belongings have vanished, including Sean’s loyal dog, and each of the three have a large X marked on their forehead with marker. From there things become a gripping story of survival, as Mike, Sean, and Wit have to defend themselves against unseen assailants hiding amongst the trees of the forest.
There were a few surprising moments throughout the film. I wasn’t totally shocked or anything – the kills weren’t particularly gruesome. At least not for someone like myself who watches a ton of horror, and I do mean a ton. Too much even. I’m not totally desensitized. Some say they are, but that’s too bad for them. I still have fun and get excited and get freaked out at the movies. Preservation didn’t really have any awful kills. Though, they were done well, I must say. I liked the tension mostly. Denham did a great job at drawing out the suspense and really grinding on the tense moments. One specific scene I really enjoyed was when Mike gets trapped for a few minutes in a portable outhouse – I thought the tension was thick as hell here. Really good stuff. Being a horror hound, I would’ve enjoyed more raw kills here. This was a good movie, decent enough, but could have definitely turned things up a notch with a bit more gore. Maybe. Maybe not, as well. There was just something missing along with all the tension Denham managed to work into the movie.
One thing I did enjoy was the character of Wit. Past here, we’re getting into SPOILER TERRITORY, so please – if you don’t want to get the movie spoiled you should turn back now!
I think Wit’s whole situation, involving the initially hidden pregnancy, really played into the whole plot and helped her character stay very interesting. Personally, I found the aspect of her not being able to shoot an animal and then having to face off against real human killers a little tired. This sort of angle has been played out far too many times. What I really did enjoy about Wit was the fact she was about to become a mother. I think once we discover these are just kids hunting them down for, basically, a laugh, it really becomes something much more intense for Wit particularly. She has just discovered awhile ago that motherhood is upon her. Now, all of a sudden, these kids are reigning terror upon her life. I mean – if that’s not birth control food for thought, then what is? This angle of the plot was really interesting for me, and fresh. We’ve seen the kid killer thing, even the pregnancy plot, but combining the two worked here. Not exactly unique or wholly fresh material. Just executed nicely.
This is a pretty good little thriller with a bit of horror thrown in. I would mostly call this a thriller. Definitely a psychological aspect. There are a couple really good performances. All three of the main characters are pretty excellent. Though, Pablo Schreiber doesn’t have a huge part I really did enjoy him here. Usually he seems to be pigeonholed into playing the creepy jerk, or the weirdo, the psychopath, whatever – here, he does a great job at playing an outsider type character, but essentially a good guy. He has some acting chops, I’ve always thought that since first seeing him. Aaron Staton is pretty good here, as well. Mostly, though, it is the Wrenn Schmidt show in Preservation. She plays a complex female character who isn’t perfect, who gets the hell beat out of her, and who has to do things no expecting mother would ever want to have to do – and she comes out of it a whole different kind of lady. I loved her performance. This was definitely the shining point.
One other thing worth mentioning before I clue things up – the score is a real treat, and I couldn’t get enough of it. Really added a nice element to the entire film. I’d actually enjoy having it as a standalone soundtrack. Great work.
All in all, this is about a 3 out of 5 star film. I didn’t think it was amazing, but I’ve absolutely seen other movies in the same sub-genre that didn’t satisfy me near as much. Christopher Denham is a pretty good horror director. I’ve enjoyed a lot of his acting – Sound of My Voice is probably his best work in that sense. I do prefer Home Movie over this, although I’d absolutely, and will absolutely, watch this again. This goes recommended for people who enjoy the sub-genre. If not, you may walk away from this less than thrilled. For the fans I don’t think you’ll be disappointed. Just don’t expect Denham to have reinvented the wheel on this one. Plus, it’s one of the rare modern survival thrillers where you don’t have to watch a woman get sexually assaulted, or have the implications of such things happening off screen – nowhere to be found here. Personally I don’t shy away from something just because of such things, but I do hate movies that use it as a silly exploitation move. Luckily, Denham does no such thing. Sit back, watch a bit of thrilling fun. Might not be the best of the sub-genre, though, it beats some of the lesser titles to death.
American Sniper. 2014. Directed by Clint Eastwood.
Starring Bradley Cooper, Sienna Miller, and Kyle Gallner. Warner Brothers. Rated 14A. 132 minutes.
First of all, I have a family member who served in the Canadian Armed Forces. Second, I know others who’ve gone over to Iraq, et cetera, several people I knew well growing up. So I’d like to just say I have respect for those who choose to defend their countries. The smaller people who are the ones that actually go to war aren’t those making the big decisions – you can’t fault someone for wanting to be a patriot if they’re being just as misled by their government as us civilians. All that said, I’m really against some of the modern wars over the past 30 years America has involved themselves in. That’s no fault of the men fighting on the front lines. One such man is Chris Kyle, played here fabulously by Bradley Cooper, who is the most accomplished marksman, as far as I know, in the history of the American military. The guy served as a sniper during the Iraq invasion of 2003 onward. He is no doubt a tough soldier.
However, my problem with this film is not exactly with Kyle himself. The problem I have is mostly with the entire situation of the Iraq War, and some of the decisions made by the United States government during that period. My major issue is that here we’re asked to empathize with a man who has killed women and children – one of the early scenes shows Kyle making a split-second decision to snipe a little boy, who was given an explosive device to throw by his mother, and then just afterwards also killing her. I know a lot of people will make the argument that the kid would have killed American soldiers – absolutely, he would have. On the other hand, should Iraq have been invaded? Was it invaded for the right reasons? I’m not one of those people who is out preaching that the war was started for oil, I’m just saying – a foreign government sends troops into a strange place, people are threatened, everyone there is assumed to be a villain. Are we to expect people aren’t going to say “get the fuck out” and start fighting? Maybe the woman was a part of a terrorist group. Perhaps. We’ll never know, and that’s for sure.
Bradley Cooper does a great job with this role. I don’t have any problem whatsoever with his performance. Particularly, his Southern accent was absolutely flawless, to my mind. He did excellent work playing Kyle physically and vocally, as well as in the way the man was, no doubt, highly intense. I don’t have any problem with the acting in this movie. However, aside from Kyle there aren’t many characters with much room to breathe. I know it’s centered on him, clearly, but I mean a lot of this story is supposed to be about how Kyle was affected by the war, what he did over there, et cetera. We really don’t get to see enough of anyone else, from Kyle’s wife to his brothers-in-arms, to really latch onto any other character development or anything which gives us enough of an idea about the pathology of his trajectory. There are a few typical scenes with Kyle and his wife, one in the hospital as Kyle visits an injured soldier, and other than that it’s pretty much the Cooper Show. It’s a fun show, just not enough to justify the messages Clint Eastwood was shambling at with this movie.
This brings me to my final point about American Sniper. I’ve read lots about the Iraq War, in particular a really great book called Ghost Wars, which was a great dose of history tackling everything from the invasion of Iraq back to the 1950s and 60s, and everything in between. I am by no means an expert. No more than the regular person interested in history, war history in particular, and a love of books/reading. So, what I’m saying is, I realize there are plenty of situations where seemingly normal people in foreign countries might later reveal themselves to be enemies – however, Eastwood goes way too hard headed at this angle. It seems like Eastwood decided “I’m not going to show that there are two sides to these situations” then proceeded to put scene after scene in to really nail the point home. Every Iraqi is an enemy – this is his message. Even one scene where Kyle sees a young boy about to pick up an RPG launcher, after the man holding it takes a bullet from the American Sniper himself – Kyle is talking to himself, begging the little boy not to pick the thing up – finally when the boy opts to drop it, the sniper sighs heavily in relief. Even here Eastwood is almost saying “well the kid wanted to shoot and kill some Americans… he just couldn’t lift the damn thing!” I mean, it’s a bit ridiculous at a certain point. Even the nice family who take Kyle and his team of soldiers in for a nice dinner, sat around the family table – they turn out to be, gasp, insurgents or belligerents, or whatever the U.S Army/media decide to call them these days. I just found it really preposterous. I know that even Kyle in his book apparently says some fairly tough minded things about the people in Iraq, even going so far as to admit to looting houses after people fled them in Fallujah, but Eastwood could’ve at least tried to look as if he were aiming to show two sides of a disturbingly murky part of American war history. To me, it was just nonsense. Constant reiteration of “every Iraqi is a possible terrorist.” Film version of ignorant patriotism – there is a way to be patriotic without looking foolish.
I’ll give this a 0.5 out of 5 stars only because I really enjoyed Bradley Cooper’s portrayal of Chris Kyle – regardless if I admire the man as a person or not. I know a lot of Americans probably don’t want to hear this sort of review about one of their heroes. I am in no way trying to disrespect people who serve in the military. Once again, as I said in the beginning, I do have a great respect for those who give up their lives, their safety, their comfort to defend the country they call home. Even if their government is sending them on a wild goose chase – I admire anyone willing to walk into the danger zones of a country foreign to them. But this movie is just Clint Eastwood’s Republican love song, honestly. I used to really love him, both as an actor and director (one of my all-time favourites is actually Mystic River plus a ton of his older acting performances). Nowadays I feel like Eastwood is just sinking into mediocrity. Letting his political views get in the way of good film making. This is just too much of a heavy handed political movie. I know it’s about a very political topic when it comes down to it, but above all it’s meant to be a character study of Chris Kyle. I didn’t get enough of what the film should have been. Instead, it’s a mix of a decent war movie, and a lot of ignorant perspective on the Iraqi war and the Iraqi people. Further than that, there’s no questioning of Kyle’s legacy whatsoever. I’m not saying I want this guy dragged into the mud – not at all. His family would want his memory preserved. But still, there are various accounts Kyle has talked about which are not verified. In this film you basically get a love letter to America and Kyle, without any inward reflection, though, it presents itself in a light many believe does show some sort of reflection. I don’t see it. Plus, the movie could’ve easily had a half hour or so chopped out with no difference made – too long for the purpose it attempted to serve. Many other, far superior, war movies at this length and less that impressed me more than this one. I don’t recommend this. See it only to admire Cooper’s work ethic and ability as a great actor, which I do believe. One of my least favourites from 2014. Clint Eastwood needs to reevaluate his dedication to film making, and whether or not it’s solely based on making money while telling lies. This was a bad movie. There are a lot of great war films, such as even the recent David Ayer film Fury, however, American Sniper will never ever be close to that or any other excellent movie centered on war.