Kirsten Dunst as Lee and Cailee Spaeny as Jessie hiding from an explosion behind a police car in Civil War.
The Big Picture When a divisive film like Civil War comes along, it is worth appreciating, as the passionate discourse among the film community serves as a reminder that films are essential forms of media in a rapidly changing media and cultural climate. For a provocative filmmaker like Alex Garland, apathy is the enemy of artistic success. If his recently released dystopian war thriller failed to trigger anger and frustration among a cohort of critics, then something went awry.
Civil War DramaAction 910 The film follows events in the U.S. during a civil war. Government forces attack civilians. Journalists are shot in the Capitol. A film that brushes on thorny political topics is expected to be an active work of political commentary — think of Oliver Stone's left-leaning confrontational rebukes of American foreign policy and the military-industrial complex in Platoon and JFK. In the case of explosive blockbusters that fetishize military combat and express unabashed jingoism, notably films by Michael Bay, they evoke the spirit of right-wing philosophy.
War, as the most dangerous and barbaric form of competition, comes down to one regimented side versus another — like a sports match in that sense. Civil War, however, distorts which party is on what side, and it is ambivalent toward identifying the righteous side. Anecdotally speaking, as I was leaving my screening, a couple inquired about my thoughts on the film, and their main point of concern was that they couldn't comprehend the details of the war.
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