In 1944, a team of five allied soldiers are assigned to protect a French mansion that the Nazis recently vacated. They are late arriving to relieve the current watch, who are suspiciously eager to leave. Almost immediately after they do, weird things begin happening to each of the five as they split up and check out the mansion. Clearly, this house is haunted, and it’s no surprise since the Nazis seem to have ritual-killed the family who once lived there (the pentagram in the attic is not just decorative, it’s fully operational).
From the moment Billy Zane appears on screen, it is clear that Ghosts of War is not going to be a good movie, and is not even trying to be one. Its goal appears to be to make you jump in terror, with it settling for mild twitches of surprise. Which kind of works, in its way. The house is mysterious enough to keep your attention, and the weird things happening within are clearly not random. These patterns hint that there is a solution to be found somewhere in the house, and our five soldiers are focused on figuring it out.
But then, things go sideways in a hurry, and that is because Ghosts of War has one other secret goal, ripped directly from M. Night Shyamalan’s playbook. Namely, to blow your mind when the truth behind these strange events is revealed. And as in most Shyamalan films, Ghosts of War’s twist feels like a cheap gimmick. Not only does his particular twist make no sense, the movie would have been better if it had just been left out.
That ill-conceived twist turns this uniquely-set haunted house movie into something we have seen done many times before, and seen done better just as many times. Especially because Ghosts of War’s ending seems to have been misplaced, or else it disappeared into thin air. Where did it go? Perhaps Billy Zane can track it down, but until he does, what’s left is a movie that is both a half hour too long and 20 minutes too short.
When the Americans were finally self-interested enough to join WW2, they needed a lot of boots on the ground, and some in the air, and a few if by sea.
Captain Krause (Tom Hanks) is in command of an escort force protecting an Atlantic convoy consisting of 37 Allied ships on their way to Liverpool. They’re passing through the Mid-Atlantic gap, so called because no antisubmarine aircraft are able to reach them. They’re on their own. Still three days out of range from protective air cover, they intercept German transmissions. It is likely U-boats are near. This is merely the start of 13 back to back covers (or 52 hours) on the Greyhound’s bridge as Krause fights to save his ship, protect those in his convoy, and rescue those who succumb.
As a war movie, director Aaron Schneider makes very effective use of his 90 minute runtime, keeping the focus on a very intense combat. It’s basically a race against time, a fight for survival until they reach precious, essential air cover once again.
But the reason Greyhound really shines, as did its source material, The Good Shepherd by C. S. Forester, is in its fascinating and intricate character study of the man behind the wheel. Captain Krause has been a career Navy officer for many years. His seniority is unquestionable, but in truth, this is his first wartime mission. The other captains are younger and junior to him in rank, but they’ve been at war for two years already. Although we see him act in competent and level-headed ways, we are also privy to his self-doubt. The combat is relentless as the minutes and hours tick by, Krause unwilling to leave his post, and only the kindness of a mess attendant (Rob Morgan) ensures he doesn’t go hungry.
Hanks adapted the material himself, and though we never see the guy make an acting misstep, he is clearly suited to this character, slipping on the captain’s skin as if it were a comfortable, monogrammed slipper. You feel his fatigue, and inklings of inferiority, but with the weight and fate of an entire fleet on his shoulders, he never gives less than his best. The constant danger is exhausting, the many snap judgments that must be made while in command are overwhelming, and above all, we see Krause struggle with his conscience – muttered prayers for the souls on board, but also a refusal to celebrate enemy kills, a necessary part of war perhaps, but one with which Krause is not entirely comfortable. It’s a facet rarely explored in war movies and Hanks is up for its portrayal, but cleverly, the points are merely plotted, the lines themselves drawn by the audience.
I expect nothing less that complete satisfaction from the material Hanks is choosing, and he’s so unvaryingly good it’d be almost tedious if it wasn’t so wonderful. And this, too, is wonderful, and not even annoyingly so. Hanks truly is a master and Forester’s carefully observed novel cannot be over-rated.
In northern Afghanistan circa 2006, the Americans had a series of outposts to promote counterinsurgency and “connect with locals”. Camp Keating was nestled in a valley surrounded by Hindu Kush mountains in an attempt to stop the flow of weapons and Taliban fighters from nearby Pakistan.
The camp is an exhausting place to be with near constant firefight. It’s also nearly indefensible, and what personnel survive quickly burn out. But this movie primarily covers the Battle of Kamdesh of October 3, 2009, one of the bloodiest for US forces in the war in Afghanistan. They were assaulted by hundreds of Taliban insurgents who breached the bases’s perimeter defenses in just 48 minutes and lit the outpost on fire. There had been a systematic failure to adequately support the base, but the the troops on the ground repulsed the attack “with conspicuous gallantry, courage and bravery.” Due to a lack of available aircraft and density of terrain, help was slow to reach them – most didn’t arrive until after the 14 hour battle was over. The small contingent of American troops lost 8 soldiers that day, with 27 more wounded; those that survived did so thanks to bombers arriving to coordinate airstrike.
If you like war movies, this one is well-made. If you’re prone to migraines, this one’s constant gunfire makes it a major trigger. Once the battle starts, it’s unrelenting, and it wasn’t exactly easy going before that either. The intensity is real, and the realism is ugly.
The movie thinks that SSG Clint Romesha (Scott Eastwood) is our hero, but he’s just the guy who wrote the book. Caleb Landry Jones, the much much better actor, as SPC Ty Carter, is the guy you can’t take your eyes off of. I dare you to try. Aside from Jones, I won’t say the acting impressed me much. The lesser roles are sprinkled with real-life soldiers, but they aren’t shouldering enough to ruin anything. It’s the Hollywood royalty who’s mucking things up, and I don’t just mean Scott Eastwood, though I definitely do put him first on my list. A smolder is not enough, Scott. A famous dad apparently is, and he clearly shares a tendency toward a certain kind of film as his old man. Milo Gibson is of course Mel’s son. James Jagger belongs to Mick. Will Attenborough is the grandson of Richard. Scott Alda Coffey is grandson to Alan Alda. And of course Orlando Bloom is Mr. Katy Perry. No one need win a role by merit here!
The unit from Combat Outpost Keating became the most decorated, though I doubt that’s much comfort: 27 soldiers were awarded the Purple Heart for wounds sustained in combat, 37 were awarded the Army Commendation Medal with “V” for valor, 3 soldiers were awarded the Bronze Star Medal, and 18 others the Bronze Star Medal with “V” device for valor. Nine soldiers were awarded the Silver Star for valor. Two were later upgraded to a Distinguished Service Cross. The Outpost is a fitting tribute to the kind of hard work and heroism that earn those medals. For me, it was too much. It was non-stop violence while I felt no emotional connection to any of the characters. But I’m confident that fans of the genre will find a lot to like here – a stunning, expertly and respectfully made modern war movie.
Retired Master Sergeant Thomas Tully (William Hurt) picks a bad day to visit Scott (Sebastian Stan) at his office. Scott’s boss has just quit unexpectedly, and with an election looming, it’s likely that Scott will soon be out of a job. So yes, Scott’s been shuffling Tully’s paperwork around on his desk for months now, but today wasn’t super ideal in terms of bringing it to his attention. Tully gets the brush off, has been getting it in some form or another for more than 30 years.
Tully fought in the Vietnam war, and he’s asking for a decorations review, an upgrade from the Cross to a Medal of Honor, not for himself, but for a comrade who didn’t come back, a young man named Pitsenbarger, known as Pits. On a particularly bloody day of the war, Operation Abilene, one company was used pretty much as bait, and before the sun set they’d taken 80% casualties all on that single day. And the only reason the other 20% survived was because of Pits, a man who didn’t need to be there, and wasn’t part of the operation. He was Air Force, part of pararescue. He and his unit were hovering in their helicopter trying to evacuate soldiers when he assessed the situation and acted. He went down. We went down because the company had already lost their medic and were taking an awful lot of fire. There were wounded everywhere. It was a miracle that he survived the descent, but what he did on land was even more remarkable.
Except his actions had only posthumously been awarded a Cross when the grateful survivors had put him up for an MOH. They were still pursuing it this many years later, hoping to commemorate all he had done for men he didn’t even know.
Scott’s in a tricky position career-wise and gets sent to check out this story. He interviews the survivors, many of them reluctant, all of them haunted (including Samuel L. Jackson, Peter Fonda, and Ed Harris). And he visits the Pitsenbarger family, finding parents (Christopher Plummer, Diane Ladd) still grieving their son. This assignment may have started as a way to run out the clock on his former position, but as he begins to comprehend the black hole of bureaucracy that this simple request has suffered, he becomes more committed to seeing in through. It’s about more than acknowledging the sacrifice made by The Pitsenbarger family, it’s a balm on the psychic wounds of the people he saved. The Vietnam war in particular offered so little to its returning vets that this was really their last avenue for healing their emotional scars.
Writer-director Todd Robinson’s film is earnest, safe, and sensitive. It’s also true. It very carefully toes the tricky path of celebrating the contributions of those who served without condoning the war itself. But more than that, it serves as a reminder of a war that may have fallen away from public consciousness but is still serving aftershocks to those who narrowly survived and to the families of those who did not.
Let’s be real: this documentary is a super duper emotional watch.
We’re going to get to know the Eisch family over the next decade of their lives, but when we meet them, dad Brian is deployed to Afghanistan while sons Isaac, 12, and Joey, 7, live with uncle Shawn since their mother is out of the picture. The kids are proud of their dad, they think of him as a super hero, but they not only miss him, they worry about him. They’re young but they understand the consequences of his job.
In fact, Brian does return injured. He nearly lost his leg, so the dad they get back is not the same one that left them. He can’t do the camping and fishing and outdoorsy stuff that they used to enjoy together, but he’s also struggling just to be a loving and attentive father. War sucks.
Brian is lucky; besides having some very helpful relatives, he finds love again, a saintly and patient woman who’s willing to abide his mood swings and care for his children as she cares for her own. Brian’s pain is such that he finally agrees to an amputation, but healing post-surgery isn’t as swift as he’d hoped and his prosthetic the answer to all his problems. As depression sets in, a war video game becomes his sole focus. Brian is grappling with his new limitations and his sons are adapting to a family constantly reacting to the aftershocks of war.
Directors Catrin Einhorn and Lesley Davis capture some truly stunning and intimate family moments. Brian of course goes through some major transformations mentally and physically, but I found the young sons to be much more compelling. And remember: we’re with them for an entire decade. We literally watch them grow up, something they perhaps do a little too quickly. Juvenile ideals of patriotism and valour melt into questioning the real cost of war and whether it’s really worth it. As hard as it is to hear a 7 year old say “You shot my dad, I kill you,” it’s even harder to watch him learn the true meaning of sacrifice.
The Eisch home matches their wardrobe completely: plaid and American flags adorn both. Brian coaches his sons to “be tough” and to hold back their tears. Meanwhile, he’s wrestling with his own sense of masculinity, purpose, and self-determination. He’s a third generation soldier who’s no longer mission ready. Is the fourth generation destined to walk in his boots, or has this family paid enough?
This family portrait is painted with generational tragedy but it’s not asking for sympathy. It’s serving real, raw moments of joy and sorrow and we are their solemn witness.
“Just because you’re the prime minister doesn’t mean you get to make up your own facts.” It’s almost delicious how naive this sounds as Katharine Gun (Keira Knightley) utters the words unironically near the top of the film. This was in 2003. We, of course, that politicians were shady. That they lied routinely and weren’t even ashamed of it. But in 2003, things began to shift, in part because thanks to the internet, we had ready access facts and figures. So when a politician looked into our eyes (through television, but still) and said the words “weapons of mass destruction,” we called bullshit. With time we’ve been able to say that the war on Iraq was never about 9-11, or Sadam, or nuclear capabilities. It was about oil. It was always about oil. That was the beginning of the end; it’s been all downhill from there, rolling ever more swiftly from 2016 on when America’s T-bag president has us living in a post-truth, fake news apocalypse.
But let’s go back to 2003. After the tragic September 11 2001 terrorist attack, America mourned their 3000 lost, but then skipped through the other stages of grief and went straight to vengeance. The al-Qaeda terrorists were not from Iraq (they were from Saudi Arabia, primarily) but linking the invasion of Iraq to the tragedy provided convenient cover for America’s true intentions: control over oil and preservation of the dollar as the world’s reserve currency. UK prime minister Tony Blair decided to cast his lot with George W., though he found it difficult to justify in the House of Commons where a record-high number of MPs rebelled against the vote and 3 resigned in protest. Still, they joined what was already an unpopular war with suspicious rationales. Katharine Gun (Knightley) was but one of many people glued to their televisions, skeptical of the reasoning they were being sold.
Gun worked as a translator for a British intelligence agency. She’d seen memos concerning a request from the U.S. for any kind of compromising information on diplomats from the UN Security Council who were due to vote on the prospective invasion, and for help in bugging their offices.
Outraged at their under-handedness, Katharine leaked the document which ultimately led to her arrest and being charged with breaking of Official Secrets Act. The movie is nothing new, and if anything it lacks punch since with hindsight we know that not only was Hussein not affiliated with al-Qaeda, no WMDs were ever found in Iraq. The war was a sham. The reason to watch is for Knightley, who reminds us that ordinary people can be promoted to hero or demoted to villain when they turn whistleblower. Director Gavin Hood’s success is that he doesn’t make Gun a martyr, he doesn’t make her soap-boxy or righteous. She’s just a citizen like you or I, frustrated by her government’s dishonesty, and when she has the ability to do something, she does it. She’s not brave or courageous. It reminds me of a quote from Spider-man: Into The Spider-Verse (random much?) (bear with me): “Anyone can wear the mask.” In early 2003, Katharine wore the mask.
Why watch the movie when we’re already familiar with the events? For me it was the court scene. Gun plead “not guilty”, saying in her defense that she acted to prevent imminent loss of life in a war she considered illegal. What happens next is eyebrow-arching stuff, almost too good, too perfect to be true (but it is).
Leyna (Amandla Stenberg) is the only person of colour in her village. She’s aware of that fact, of course, all too aware, but it’s not until her 16th birthday when her difference starts to truly matter, so her mother packs her and little brother Koen up and takes them to Berlin where they can be ‘invisible.’ But Berlin isn’t any safer for a biracial girl in 1944. Leyna and her family live in fear, and Leyna’s mother Kerstin (Abbie Cornish) is so desperate she sacrifices her relationship with her own family to obtain some false papers for her daughter, papers that promise Leyna will never commit the crime of racial mixing with a German aryan, papers that claim she has been sterilized.
Koen joins the Hitler Youth, compulsory for every aryan boy, and his mother is trying her best to temper the hate he learns there with the values and morals of home. As for daughter Leyna, Kerstin is just trying to keep her alive, a feat made more difficult after Leyna falls in love with Lutz (George MacKay), himself a member of the Hitler Youth, and the son of a prominent SS officer. This could get them both killed – it has become obvious that the Nazis aren’t just hunting Jewish people, but anyone deemed “impure.”
There’s obviously an interesting story in there somewhere, but the script by writer-director Amma Asante doesn’t quite sniff it out. Possibly the best thread to follow would be that of Kerstin’s relationship with her children, both rebellious in their ways, and her struggle to balance her beliefs with what will keep the family safe, not unlike Scarlett Johansson’s Oscar-nominated turn in Jojo Rabbit.
Instead we experience the world from Leyna’s perspective. Amandla Stenbert does good work, but Leyna is a teenager, confused and confident at the same time. She insists she wants nothing more than to be treated like any other “good German,” which, considering the context, is kind of uncomfortable. Against the backdrop of millions of Jewish people being led to slaughter, it sort of feels like Leyna has shown up to a Black Lives Matter protest with a sign that reads “All Lives Matter.” Leyna’s youth sees only injustice against herself, and her lack of awareness or irony starts to feel worryingly tone deaf.
The increasingly improbable love story does little to recommend itself and its compassion feels miserly and misplaced. Sean and I recently watched Schindler’s List (he for the first time), a perfect reminder that there are plentiful and worthier movies on the subject, ones that manage to paint a fuller and more accurate picture.
The Vietnam War. Yeah, we all flinch at the words. As a Canadian, I actually didn’t learn about this in school as we were “non-belligerent” (what a term!) (also, we were busy learning about our contributions in WW2, a war America remembers fondly by screaming at random Europeans “we saved your asses!” but Canadians remember as the war we joined immediately because we “thought Nazis were bad” and America ignored for two whole years because “Nazis were maybe okay” and finally joined when “something bad happened to us, on our soil.” Ahem) and I was born long enough after it that there was already a hit Broadway musical about it. But we can’t help having absorbed quite a bit about it, through pop culture of course, and by sheer proximity to our war-mongering neighbours to the south. I knew that it was a tough war because many Americans came to oppose it, which was probably the right attitude, but it meant that a lot of returning vets didn’t get the respect they deserved or the help they needed – which is an American hallmark, actually, by no means exclusive to the Vietnam war. And I knew that bad shit had happened there: we called it the My Lai Massacre; the Vietnamese call it the Son My Massacre, but either way you slice, it meant that 500 unarmedcivilians – men, women, children, babies – were slaughtered by U.S. soldiers. Women were gang-raped and their bodies mutilated, as were children as young as 12. When their cover-up was eventually busted, 26 soldiers were charged with criminal offenses but only Lieutenant William Calley Jr. was convicted. Found guilty of killing 22 villagers, he was given a life sentence but served only three and a half years under house arrest. And for me, the Vietnam war was oddly muddled up with hippies and their peaceful sit-in protests and with civil rights and their peaceful marches. And historically, that’s correct. Some were putting daisies into guns for peace and others were being sent to war, and those things were happening concurrently but not equally. Young black men were being sent to Vietnam in disproportionate numbers while young white men could easily avoid it simply by attending college: Bill Clinton deferred once for college, Joe Biden and Dick Cheney each deferred 5 times. And if staying in school indefinitely wasn’t your bag, your wealth and privilege could work for you in other ways; Donald Trump avoided the draft 4 times with educational deferments but the 5th time Uncle Sam came calling he out and out dodged it – his father called in a favour from a Queens podiatrist who wrote up a false diagnosis of “bone spurs” even though he’d been found physically fit to fight just two years prior and has since said it just “healed up on its own” with no treatment necessary!
Anyway, black civil rights leaders, including Martin Luther King Jr., were opposed to the war for exactly this reason. Once again, black men were being asked (well, told) to serve their country, and there weren’t any colleges or doctors writing bogus deferrals for them. They were asked to protect the freedoms of people in other countries when they still didn’t have that at home for themselves. They were called up in greater numbers of course, and were a higher proportion of combat casualties in Vietnam, and African American soldiers encountered bigots in their ranks, discrimination in the field, disadvantage when it came to promotions and decorations, and fewer services if and when they returned home. That’s a whole lot to untangle, but have no fear: Spike Lee is reaching back into the baggage of his righteous anger, and he’s not afraid to tackle these iniquities.
In Spike Lee’s Da 5 Bloods, Norman (Chadwick Boseman), a soldier in 1970s Vietnam, tells us “War is about money. Money is about war. Every time I walk out my front door, I see cops patrolling my neighborhood like it’s some kind of police state. I can feel just how much I ain’t worth.” Spike Lee always ends up sounding prescient in his films, but his trick is simply having the temerity to acknowledge that the patterns in our shameful history march on today.
Many years later, four Vietnam vets, Paul (Delroy Lindo), Otis (Clarke Peters), Eddie (Norm Lewis), and Melvin (Isiah Whitlock Jr.) return to Vietnam to repatriate the body of their fallen comrade and 5th Blood, Norman…and also the pile of gold they stashed along with him. Now surely worth millions of dollars, you might guess that this buried treasure is not going to bring out the best in even the most devoted of brothers in arms. Greed, guilt, nostalgia, regret – these we understand, but Paul’s motivation is particularly murky. Unabashedly sporting a MAGA hat, prone to racist outbursts, he’s convinced himself that he’s doing this for Norman’s honour. But propelled by fury, by a barely-restrained rage for the many ways he and his African American servicemen were vilified for their role in Vietnam, that pile of gold bricks starts to feel like reparations. And this recovery mission starts to feel more like one of revenge – against an enemy that Paul can no longer distinguish.
Delroy Lindo’s performance is the sun around which all the other planets orbit, and like all bright balls of fury, Paul is flirting with supernova. And for his part, Spike Lee has of course never been known for his reticence. As a director, he’s prone to flourishes, allowing Paul’s stream-of-consciousness mutterings to morph into a rousing monologue, staring down the barrel of the camera, staring us down, charging us with his passion and urgency. Lee splices the story of his 5 Bloods with real life footage – Muhammad Ali’s conscientious objections, the Kent State massacre, the Black Lives Matter movement (yes, his film is once AGAIN that prescient, he’s taking the pulse of America right from the jugular, right from its crushed windpipe, his alarm and his agitation a perfect reflection of today simply by being unafraid to hold an honest mirror up to the ugliness of yesterday). His script stresses the cyclical nature of the violence without letting anyone off the hook. Spike Lee’s strength as a filmmaker has always been his point of view, his authorial voice resonating backwards and forwards through time, the immediacy of his plea undiminished.
Da 5 Bloods is as potent as anything Spike Lee has ever done, and possibly the boldest feather in Netflix’s cap. The film is visually arresting, the aspect ratio in constant flux as we travel through time (and our four main actors embody their characters in both timelines, a choice I can only assume is deliberate since Netflix has proven willing to splash out for de-aging, perhaps a nod to these men wanting and needing to believe they are still heroic, still capable, still virile, or a symptom of having glorified the time in their heads, and wanting to recapture that now, before it’s too late). But most of all I admire Da 5 Bloods as an allegory for reparations. Not even an allegory, really, but a template what financial amends might look like and how we can begin to take the next steps forward.
Sean and I have been sharing the 90s movies we’re nostalgic for, movies that I so treasured in my youth that they still make me feel young to this day. I wondered if there was a specific movie that made me realize I’ve crossed over to old. Does such a movie exist? I do remember watching a not very good movie called Better Off Dead and realize that rather than empathizing with the young John Cusack character, I actually sympathized for the dad. Gah! And lately, because we’ve been able to binge-watch 30 years worth of The Simpsons on Disney+, I’ve realized that when that show first came on the air, I was Lisa’s age, and now I’m older than Homer and Marge. Oof. But today I stumbled upon the real answer: war movies. I’ve never been more acutely aware just how young 18 is than watching war movies.
Daniel Murphy (Tye Sheridan) is 18 and still has no need for a razor when he enlists in the army. He makes fast friends with Bartle (Alden Ehrenreich), who is barely older than he is, but just barely is enough for Murph’s mom (Jennifer Aniston) to make Bartle promise to look after him. Then, before they can fully lace up their boots, they’re shipped to Iraq.
I think 18 is young to choose a major in college. Not necessarily for a lack of maturity but at 18 you’ve hardly seen the world, you hardly know the choices, or what that degree actually means, and whether it will actually translate into a well-paying job you won’t immediately hate. Eighteen is certainly too young to make a commitment that could get your limbs blown off – or worse. It’s too young to really understand what you’re getting into, and what’s truly on the line. It’s too young to understand the politics of war and whether all engagements are worthy (and even seasoned politicians don’t understand, but nor do they care – it’s not their asses on the line). It’s too young to really understand the sacrifice; the teenage brain still believes itself to be invincible. Statistics are just things that happen to other people who aren’t and never could be you.
It’s achingly young; Murph sees some shit that no kid should ever see. He’s not supposed to think for himself. Orders are orders. But killing people is killing people and young Murph just can’t make that right in his head. And I don’t need to tell you how very scant the mental health resources are in the army. The army eats up young people and spits out mangled bodies and mangled souls. Murph becomes a lost soul, disconnected and disillusioned. Bartle is haunted by that promise to Murph’s mom.
When Bartle returns home, his mother (Toni Collette) finds him changed, disturbed. But Murph’s mom finds that her son is missing. Bartle knows the answers but might be too broken to tell.
The Yellow Birds has uniformly stellar performances. It’s a little familiar, perhaps not a very distinguished addition to the war movie canon, but I do think its message is worthy. We all know that war is hell, but this film reminds us that the hell extends beyond the battlefield.
A trio of buddies and U.S. soldiers return home from the war in Iraq. Their group used to be bigger but one guy went home early with a couple of inches missing from his brain, and another didn’t return at all. His wife (Amy Schumer) accosts Adam (Miles Teller) as soon as his feet hit the tarmac, begging to know how her husband died. Adam’s wife Saskia is upset that his welcome home is ruined, but she doesn’t know yet that nothing about his return home will go as she planned.
Adam, Tausolo (Beulah Koale), and Billy (Joe Cole) are all having trouble adjusting. Haunted by the things they’ve seen and the things they did to survive, they are shamed for seeking help from the army and their brave persistence only means their names are on a 6-9 month waiting list. Twenty two veterans a day are killing themselves and Billy is soon one of them. His mother knew he needed help beyond what the army was providing and had arranged a treatment facility out of pocket. Since he’s no longer around to take it, there’s one spot open, and two remaining friends. In a game of “who needs it the most” there truly is no winner.
Adam and Tausolo are both putting their families at risk reliving the war in real time; their dead comrades not just visiting their dreams but their waking life as well. This is hallmark PTSD but veteran’s affairs are backlogged and useless. Of course there is no cure. The only way forward is to talk through all of the things they’d rather forget, and learn to manage the pain. Even people with ‘Support our troops’ magnets on their cars forget them as soon as they return to American soul, but in truth that’s when their own personal war begins.
Based on Adam Schumann’s memoirs, Thank You For Your Service is an incomplete picture since thankfully Schumann was still alive to tell it. But it paints a very sobering portrait of a complete lack of support for warriors turned civilians. The film retreads some familiar ground and if anything, director Jason Hall deprives the movie of some well-deserved righteous anger.