For those not in the mood for a tent-pole this weekend, in limited theatrical release and available on Netflix is WAR MACHINE. Written and directed by David Michod, WAR MACHINE is built on satire and rapier sarcasm as we watch the rise and fall of fictional four-star General Glen McMahon. An Army Ranger who clearly envisions himself as this generation’s George Patton, McMahon hasn’t acclimated to “this military’s” method of warfare in the 21st century. He lives and breathes for the level of glory attained by Patton, MacArthur and Eisenhower. But those days are long gone and the more McMahon tries to manipulate the system for one more shot at self-glory, the more he screws up.
Knowing he’s got one last chance, McMahon takes over command of the NATO forces in Afghanistan. Despite intel and boots-on-the-ground information given to him about the impossibility of his desire to take control over the entire region currently held by insurgents, McMahon forges onward with assessment reports to the President that would give him the troops he so desperately wants for the job. Unfortunately for McMahon, the assessment report is being withheld pending elections in Afghanistan as cooler heads know that an ally in the government is necessary for any future action.
Circumventing protocol, McMahon manages to leak the assessment report to the press as well as giving an interview to Rolling Stone magazine, an interview that gives the journalist full access to the activities of McMahon and his immediate circle. Needless to say, you can guess what happens.
Very loosely adapted by Michod from reporter Michael Hastings’ 2012 expose “The Operators: The Wild and Terrifying Inside Story of America’s War in Afghanistan” based on the conduct of forces led by General McChrystal in Afghanistan, through biting sarcasm we are able to see the truth behind the real “war machine” – officers and “lifers” who thrive on conflict over peace, versus politicians and leaders who claim to want peace. With WAR MACHINE, Michod pushes the envelope with fictional McMahon pushing all the buttons to promote conflict.
While there is no real balance between support and thanks for our soldiers, the truth, and sarcasm, where Michod does succeed is in blurring the line of fact and fiction, as well as making a good showing of thanks for the individual boots-on-the-ground servicemen who are under the command of officers and politicians. Standout are the supporting roles that make up McMahon’s men, thanks to some exemplary performances from Emory Cohen, RJ Cyler, Topher Grace and Lakeith Stanfield. So strong is this platoon of performances, Michod would have done better to trim Pitt’s role and give this group more ammunition to run with.
As producer, Brad Pitt should have known better than to cast himself as General McMahon. This is one of the worst performances of his career. Every word, every movement, every nuance looking and feeling forced, and efforts at a stilted dialogue delivery that should elicit laughs, only draws painful groans. In all honesty, Pitt’s pal George Clooney would have been perfect in the role, as would a comedy master like John Goodman.
Sir Ben Kingsley is hilarious as Afghanistan’s “democratically-elected” president Hamid Karzai while Tilda Swinton as a German reporter asks the questions of Pitt’s McMahon that every American has asked every day of the war. Scott McNairy more than delivers as Rolling Stone reporter Sean Cullen, and in character, also provides effective voiceover narration. Not seen often enough these days, Meg Tilly is the perfect fish-out-of-water 1950’s-era military wife living in the 21st century; stuck in a world of days gone by and accepting the fact she has only seen her husband 30 days in about a year. Think a dowdy Mamie Eisenhower. Griffin Dunne turns in a stellar performance as a government spin doctor while Alan Ruck has the perfect amount of glibness going toe-to-toe with Pitt’s McMahon.
As comes as no surprise, the cinematography is outstanding thanks to Dariusz Wolski. Slick, glossy and beautiful, Wolski perfectly frames and lights everything from the Afghan desert to five-star Paris hotels to military briefing rooms. (Check out Wolski’s work in “Alien: Covenant” for some more fine visuals.)
Completing the mission is a killer score from Nick Cave and Warren Ellis.
While WAR MACHINE never gets all guns firing, it nevertheless provides a biting commentary on a war effort that goes from the dark to the absurd.
Written and Directed by David Michod
Cast: Brad Pitt, Sir Ben Kingsley, Griffin Dunne, Alan Ruck, Emory Cohen, RJ Cyler, Topher Grace and Lakeith Stanfield
05/25/2017 by debbie lynn elias
