This is
a brutal movie and given the current political climate opportunistic. The
political division is not clear. No manifesto is stated and secessionist states
are not identified. Moreover, soldiers wearing the same uniforms make it
difficult to identify sides. Killing and brutality are constant throughout the
whole film.
This
movie is a sleight of hand since the real story concerns photojournalists and
the risks they take to get the money shot. Kristin Dunst is Lee, a veteran war photographer
who takes great risks to capture the action. Cailee Spaeny is the novice war photojournalist
who is terrified of the fighting but energized by it. She takes unnecessary risks.
Wagner Moura is a journalist who is Lee’s colleague. Stephen McKinley Henderson
is the veteran New York Times reporter. He is old and wise but does not move
quickly. Jesse Plemons makes an uncredited appearance (whatever that means) and
is a homicidal soldier who kills for no apparent reason.
In the midst
of this mayhem, there were some solid performances. Dunst is passionate about
her art but weary of war. Her pain is etched on her face. With shooting and
killing around her she still manages to take prize-winning shots. Dunst takes Spaeny
under her wing. Even so, Spaeny is reckless and endangers herself and the
others. The horrible acts of war transform her, she is hungry for the shot and
is energized by the fighting improving her skills.
Moura
is a journalist but in the film, he seems more like the driver. He looks after
Spaeny like a big brother. He displays an adrenal rush from the proximity to
the fighting. Henderson is the wise old journalist who cautions the group.
The relationships
of the journalists are the core of the movie. The savagery of the movie misdirects
its intent.
