by Jack Grimme, Contributing Writer
Sometimes a film is so undeniably stacked with talent that it becomes hard to imagine it failing. Visionary writer/director Alex Garland takes the helm. He adds the legendary Kirsten Dunst to his team and backs her with frequent collaborators like Stephen McKinley Henderson, Cailee Spaeny, Nick Offerman, and Sonoya Mizuno. And Garland rounds out the crew with a slew of longtime creative partners, like cinematographer Rob Hardy, and Geoff Barrow and Ben Salisbury on the score. It felt like the director had brought together his Avengers to deliver a truly unique and poignant political thriller for the ages.
Civil War follows a team of journalists and photographers as they cover the United States’ hypothetical second internal war. The group, led by Dunst as veteran photo-journalist, Lee, witnesses the horrors of war in vivid detail as they travel the country to immortalize the President’s final stand. Centering your war drama on the photographers is bold for a variety of reasons. Primarily, your visual team is forced to put their money where their mouth is. Dunst’s character is renowned for her exceptional camera work, so pictures shown to the audience must be striking. Fortunately, Hardy and his team have been delivering stellar compositions in every single project Garland has released so far. And the work in Civl War is no different. The shots and camerawork in this release are potential career bests. Whether its endless embers raining on a burning forest or the night streets of war-torn downtown D.C., every single scene is breathtaking. And the careful, intentional set design manages to make moments that are photo-worthy without feeling staged or stilted.
And that is not the only element of this film that manifests as a technical marvel. Garland’s previous works have always had a very special relationship with sound. Annihilation has the infamous bear scene which strikes fear into the audience’s heart with the uncanny vocals. Men, his most controversial work, has the almost undeniably stunning tunnel scene which also lives and dies on the work of the audio team. Civil War sees similar success in this regard. Audio is used in this film to underline some of its most tense and harrowing scenes. If you have never really paid attention to the audio in Garland’s previous works, I highly encourage you to go back through the catalogue with this note in mind, because it may be his most astounding and impactful skill.
But the success of Civil War is not only due to the work behind the scenes — every single actor is at their best. Dunst’s reserved work as Lee shows how years in this field can sand down your humanity. Wagner Moura, a painfully under-celebrated name, is the perfect foil as the equally desensitized journalist who manages to enjoy his grim work. In spite of their impressive work in the driver’s seat, there are still a handful of names that somehow manage to outshine them. Spaeny and Henderson are two exceptional talents who should be granted any role they want. Fortunately, Garland sees their worth and continues to put the spotlight on them, because they glow in every single scene. Jesse Plemons stops by for a single scene and manages to command the most memorable minutes of the film. Every single name on the call sheet is utilized perfectly, populating this dystopian world with humanity, and adding weight to every interaction.
Going in, you should be expecting a thinker. The metaphors, themes, and messages are crucial to Garland’s filmography. This venture is juggling a lot of heady ideas, and there are a variety of interpretations and takeaways to be had. Is desensitization a tragedy, or a necessity to survive the onslaught of overwhelming horrors the media brings to light? Where is the line between well-intentioned activist and thrill-seeking paparazzo? How can we smile despite our grim circumstances? Is optimism a sign of hope or a grim note that the war against apathy has already been lost? Do these gruesome photos immortalize the message of martyrs or sap humanity from everyone involved? These were just a handful of questions that arose as I experienced this film. A huge part of your enjoyment will depend on your interpretation. I have already seen some people dismiss the film as “woke,” and others complain that the film glorifies the protagonist’s work. On the other end of the spectrum, I have seen people praise the film’s unflinching portrayal of a sickeningly relevant reality. Films like this force you to ask yourself uncomfortable questions, and that will paint your perception and experience.
Aside from that, there are very few critiques of Civil War that I walked away with. The film is quick, so some bits and details could use a little bit more attention. But it is hard to complain about a brisk film in a climate that seems to favor lengthy epics. The ending feels a little abrupt, which is presumably a symptom of the length. It might make the experience feel a little more complete if there was more reflection in the resolution. However, the blunt climax feels true to the unpredictable reality of conflict. Moura’s turn as Joel also slightly suffers from this limitation. His character seems to have the least depth of the main quartet, so a little extra runtime to flesh him out may have been warranted.
Ultimately, though, Civil War manages to deliver on most levels. Whether or not you enjoy the finished product will heavily rely on how you interpret the message. Regardless, the challenge to contemplate these heavy questions is one of the most valuable things a movie can do.
Rating: Loved It
Civil War is currently playing in theaters
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