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The scrupulously realistic ‘Warfare’ takes aim at the combat movie

BBG News

The gripping thriller “Warfare” seeks a cozy spot in the dictionary nestled between “war cry” and “war hawk.” True to its Oxford English definition—the act of engaging in war—it sheds conventional Hollywood tropes, forgoing speeches, camaraderie-building scenes, and tragic deaths caused by heroic gestures with photos of loved ones. Instead, “Warfare” focuses solely on the raw, harrowing reality, which is both terrifying, courageous, intense, unpredictable, mundane, and riveting.

Alex Garland, collaborating with ex-Navy SEAL Ray Mendoza on both script and direction, endeavored a similar task through the movie “Civil War” released last year – a non-political depiction of America tearing itself apart violently. Just like this film, it employs violence to advocate peace, while avoiding any contentious details regarding the causes of our nation’s strife. The aim is to invite audiences into the cinema and provoke thought: Is this truly the path we choose?

In this account, we’re drawn into a recreation of a genuine battle incident that occurred in Ramadi, Iraq, on November 19, 2006. During this period, there were 75 American and countless Iraqi casualties. The violence on this specific Sunday afternoon wasn’t the day with the most severe bloodshed; it was merely an instance that disrupted lives without gaining prominence in the headlines.

In a different setting, Mendoza was present when his unit seized an Iraqi house for observation purposes, but they were soon met with intense gunfire. D’Pharaoh Woon-A-Tai, known from “Reservation Dogs,” portrays Mendoza on screen, serving as a consistent voice over the radio, describing the team’s operations and locations – essentially, he provides a verbal account of the action as it unfolds. Unfortunately, one of Mendoza’s friends, Elliot Miller, suffered severe injuries during the battle and awoke from a coma without any recollection of the events. “Warfare” is a collaboration between Mendoza and his fellow corpsman to recount, for Miller and the audience, what that attack was like – the sights, sensations, and sounds. If you let your mind wander, you can almost smell the smoke too.

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The actor hailing from London stands out in a whirlwind of contemporary projects, featuring roles in films such as ‘Warfare’ and ‘Death of a Unicorn,’ along with a fresh installment of ‘Black Mirror.’

This film features a talented ensemble of emerging stars on the brink of mainstream fame: Will Poulter, Charles Melton, Joseph Quinn, Cosmo Jarvis, Noah Centineo, and Michael Gandolfini. Collectively, they resemble a school yearbook photo of future celebrities, similar to how “The Outsiders” from four decades ago gathered Patrick Swayze, Rob Lowe, Matt Dillon, Ralph Macchio, Emilio Estevez, and Tom Cruise. They’re all skilled performers – from the injured soldiers who are silent for much of the film due to their pain, to the supporting actors like Gandolfini who appear only briefly in moments of panic. While “Warfare” may not significantly boost their individual careers, their power lies in the shared bond and camaraderie demonstrated by their identical haircuts and shared sense of humor. Their group storms into the action with such a close-knit connection that it’s challenging to even catch their character names.

The opening scene deceives us with a serious black screen displaying the date and location, swiftly transitioning into a cheesy workout video featuring a gym-loving blonde in a thong. This movie, titled “Warfare”, initially made its premiere alongside the vibrant aerobics of “The Substance”, causing me to question if there was a mix-up with the reels. However, upon spinning around to show a room filled with soldiers celebrating these gym sessions as if it were a party in Ibiza instead of an outpost during the War on Terror, I realized that the movie would not resemble schoolwork at all. This scene is unique in the film, serving to emphasize that the characters in “Warfare” will not feel like they’re doing homework; instead, it’s the only instance where these individuals are off-duty, casually socializing before they have to start their workday.

At dawn, the sequences unfold in a disjointed, almost avant-garde fashion. As we’re struggling to make sense of our surroundings, a group resides in a house in Ramadi without any initial context as to who the inhabitants are or why their home is being destroyed. As day breaks, it becomes evident that SEALs are keeping an ordinary family under threat with guns – a couple and their two daughters – while they strategize from upstairs.

Is this mission more about protecting ourselves or attacking? Can you see a difference? While that point may not be explicitly addressed, it becomes clear as we notice that Poulter commands one group and Melton, another. The character played by Jarvis (“Shōgun”) is Miller, a sniper stationed on a pile of mattresses. Before you realize the film is dedicated to him, his grizzly and cheerful acting style draws your focus, despite his constant vigilance over the unidentified Iraqis in his line of sight. His nose pressed so tightly against the rifle stock that you can feel droplets of sweat on his mustache as he watches them.

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In simpler terms, the thought-provoking political allegory by writer-director Alex Garland, which stirred up debates, features two iconic performers from different generations.

We’re standing in close proximity with the SEAL team, anticipating what may unfold. The tense atmosphere is heightened by the life-or-death situation, keeping everyone on their toes. We can feel the strain of aching backs and the need to relieve ourselves. There’s no music to signal when the action will start. Instead, we scrutinize the strangers through Miller’s scope (Does that man seem to be looking at us?), remaining vigilant for any sounds breaking the silence: the sound of pens on maps, Mendoza’s constant chatter, men breathing audibly, and dogs barking outside (Are the dogs barking excessively?).

After that, the destruction starts unfolding. The scenes are eerie: smothered dark skies, suns resembling moons, a twisted foot seemingly without bones curling around the edge of a hallway. Moreover, sound designers Glenn Freemantle and Ben Barker have intensified the terror in each gunshot, creating sharp, jolting sounds that escalate to the rumble of an aircraft passing low overhead, stirring up a whirlwind of sand. There are blasts that silence the world — the stifling echo of an explosion. Soft cries come from afar. A man discovers his legs are ablaze. Then all the harsh sounds of battle assail your ears simultaneously, and you comprehend how difficult it is to decipher anything. The meticulous Mendoza must find a way to rescue his platoon but he’s too distracted by coordinates. “Look for the blood and smoke!” he urges desperately.

People show bravery and make errors; both are accepted. The one SEAL who riles us up behaves as if he’s in an inspiring “hooyah” scene, comforting a sobbing man by describing his shattered lower body as merely “a paper cut.” One of the film’s most compelling sections might also be its most frustrating, as several characters come to terms with leaving their weapons behind in a room under attack. They re-enter, exit, remember another item, go back in again. Despite the constant danger of death, the struggle feels real and understandable to anyone who has ever struggled to get a toddler into the car.

In a way that leaves the audience questioning and pondering, “Warfare” is described as sparse and unassuming, drawing attention to what’s absent rather than present. The platoon is so intent on vacating this dwelling that they overlook the Iraqi family who will be stranded amidst the debris, or the fate of the local translators who harbored reservations regarding the strategy. The question arises, what is the objective beyond today, this week, this month? Why is this residence chosen, why this settlement? Why have these individuals joined up? What brings them here?

The question “Why?” was the central theme of Frank Capra’s WWII propaganda film series, titled “Why We Fight,” which aired from 1942 to 1945. However, Mendoza and Garland are aware that many modern viewers might disregard their responses. To address this issue, they’ve adjusted the scope of their discussion. Essentially, they’re explaining what war entails. After watching, you will have a clear understanding of why people are asked to participate in it.

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2025-04-10 19:31

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