From Vulture: https://www.vulture.com/article/review-civil-war-starring-kirsten-dunst-and-cailee-spaeny.html
By Bilge Ebiri
Americans sure do love to see their institutions destroyed onscreen. I remember back when it was sorta-kinda news that audiences applauded and cheered as aliens blew up the White House in Roland Emmerich’s Independence Day (1996). Since then, it’s been standard operating practice for blockbusters, particularly the disaster-y ones, to incinerate or otherwise defile a monument or an iconic government building. (We took a brief recess after 9/11 — “too soon,” etc. — but went right back to it once the cultural all-clear sounded.) Maybe because our institutions were deemed so secure and unchanging for so long, the idea that they might be ravaged by aliens, meteors, zombies, or Dylan McDermott became a naughty fantasy we were eager to see played out onscreen, over and over and over again. A variation on this kind of chaos has become all too real over the past few years, with more than 40 percent of the country in a 2022 poll saying they think a civil war is likely within the next decade. I’m not entirely convinced that the constant barrage of apocalyptic destruction on our screens is unrelated. We’ve been spectators to the fantasy for so long that we’ve come to imagine we’re participants in it.
Here’s another truth about repeatedly indulging in our fantasies: We become desensitized to them. What makes Alex Garland’s Civil War so diabolically clever is the way that it both revels in and abhors our fascination with the idea of America as a battlefield. No real monuments get done blowed up real good in this one. The spectacle this time is coyer but somehow all-consuming. What’s being incinerated in Civil War is the American idea itself.
The film is set in what appears to be the present, but in this version of the present a combination of strongman tactics and secessionist movements have fractured the United States into multiple armed, politically unspecified factions. The president (Nick Offerman) has refused to give up power and is now serving his third term; he’s dissolved the FBI, bombed American cities, and made a point of killing journalists on sight, or so we’re told. California and Texas have joined forces and become something called the Western Front. There’s also the so-called Florida Alliance. Smoke rises from the cities; the highways are filled with walls of wrecked cars; suicide bombers dive into crowds lined up for water rations; death squads, snipers, and mass graves dot the countryside.
How we got here, or what these people are fighting over, is mostly meaningless to Kirsten Dunst’s Lee and Wagner Moura’s Joel, two war journalists making the treacherous drive from New York City to Washington, D.C., for an exclusive, probably dangerous interview with the beleaguered president. Tagging along for the ride in their van are Jessie, played by Cailee Spaeny, a young, inexperienced photographer who aspires to a career like Lee’s, and Sammy (Stephen McKinley Henderson), an aging reporter who wants to go to the front lines in Charlottesville. Lee is vexed by both their presences. Jessie’s too young, and Sammy’s too old. The blood-soaked highways of the divided states of America are no place for either of them.
The journalists covering this war gather in hotel bars, get drunk, and loudly yuk it up with the jacked-up bonhomie we might recognize from movies set in foreign lands like The Killing Fields, Under Fire, and Salvador. They’re mostly numb to the horrors they’re chronicling. After the young Jessie is scarred by an early run-in with a man who threatens to shoot two unarmed, tortured, barely alive captives, Lee tells her that it’s not their job to ask questions or get involved: “We take pictures so others can ask these questions.”
One of the reasons Lee is such a legend in her field is because she has grown a protective shell around herself. She wants to get the picture. That’s it. She’s protective of Jessie but only to the extent that the girl will slow them down or upend their plans. “Would you photograph that moment, if I got shot?” Jessie asks. “What do you think?” Lee responds, as if the answer is obviously yes. But we also understand that Lee bears the psychological scars of what she’s seen. At night, alone in her bath at a hotel, she covers her eyes and revisits the horrors she’s photographed all over the world. “I thought I was sending a message home: Don’t do this,” she says of her earlier work. “But here we are.” Garland can be clunky and obvious with his dialogue, but Dunst can also make just about any line sound true. Her face tells one story, her words tell another; together, they bring this conflicted woman to life.
The film embodies Lee’s traumatized numbness to a degree. Garland knows how to build suspense, and he depicts astonishing violence with the requisite horror, but he also moves his film along in playfully provocative ways. After one ghastly sequence in which guerrillas shoot a weeping soldier, the director cuts to a montage set to De La Soul’s “Say No Go,” a song about a horrific subject that adds a peppy beat to the grisly images onscreen. (I was reminded of the way Stanley Kubrick’s Full Metal Jacket cut to the Trashmen’s “Surfin’ Bird” right after a similar firefight.)
Even the film’s episodic quality — it’s really just a ghastly travelogue through the war-torn Eastern Seaboard, with our protagonists confronted at each stop with some upsetting new incident — feels like a provocation. Part of shutting yourself off to such horrors involves being able to move past them, and Civil War, like its characters, glides past each monstrous vignette with unbothered brio. This can make the film feel weirdly weightless at times. Its characters are observers and nomads. If anything, they feel less invested in what they’re witnessing as the movie goes on.
Civil War’s lack of a political point of view, as well as its refusal to really identify the positions of its warring parties, has come in for some understandable criticism. But does any sane person really want a version of this film that attempts to spell out these people’s politics or, even worse, takes sides in its fictional conflict? (That sounds like it would be the worst movie ever made.) Garland does include flashes of real news footage from a variety of recent American disturbances, but he’s clearly done more research into media depictions of other countries’ war zones.
This is maybe his best idea, and why the film’s lack of political context feels more pointed than spineless: The conceit here is to depict Americans acting the way we’ve seen people act in other international conflicts, be it Vietnam or Lebanon or the former Yugoslavia or Iraq or Gaza or … well, the list goes on. In that sense, Civil War winds up becoming a movie about itself. Beyond the plausibility of war in the United States or the tragedy of such an eventuality, it’s about the way we refuse to let images from wars like this get to us. It’s more a call for reflection, an attempt to put us in the shoes of others, than a warning — not an It Can Happen Here movie, but a Here’s What It’s Like movie. It doesn’t want to make us feel so much as it wants us to ask why we don’t feel anything.
By Bilge Ebiri
Americans sure do love to see their institutions destroyed onscreen. I remember back when it was sorta-kinda news that audiences applauded and cheered as aliens blew up the White House in Roland Emmerich’s Independence Day (1996). Since then, it’s been standard operating practice for blockbusters, particularly the disaster-y ones, to incinerate or otherwise defile a monument or an iconic government building. (We took a brief recess after 9/11 — “too soon,” etc. — but went right back to it once the cultural all-clear sounded.) Maybe because our institutions were deemed so secure and unchanging for so long, the idea that they might be ravaged by aliens, meteors, zombies, or Dylan McDermott became a naughty fantasy we were eager to see played out onscreen, over and over and over again. A variation on this kind of chaos has become all too real over the past few years, with more than 40 percent of the country in a 2022 poll saying they think a civil war is likely within the next decade. I’m not entirely convinced that the constant barrage of apocalyptic destruction on our screens is unrelated. We’ve been spectators to the fantasy for so long that we’ve come to imagine we’re participants in it.
Here’s another truth about repeatedly indulging in our fantasies: We become desensitized to them. What makes Alex Garland’s Civil War so diabolically clever is the way that it both revels in and abhors our fascination with the idea of America as a battlefield. No real monuments get done blowed up real good in this one. The spectacle this time is coyer but somehow all-consuming. What’s being incinerated in Civil War is the American idea itself.
The film is set in what appears to be the present, but in this version of the present a combination of strongman tactics and secessionist movements have fractured the United States into multiple armed, politically unspecified factions. The president (Nick Offerman) has refused to give up power and is now serving his third term; he’s dissolved the FBI, bombed American cities, and made a point of killing journalists on sight, or so we’re told. California and Texas have joined forces and become something called the Western Front. There’s also the so-called Florida Alliance. Smoke rises from the cities; the highways are filled with walls of wrecked cars; suicide bombers dive into crowds lined up for water rations; death squads, snipers, and mass graves dot the countryside.
How we got here, or what these people are fighting over, is mostly meaningless to Kirsten Dunst’s Lee and Wagner Moura’s Joel, two war journalists making the treacherous drive from New York City to Washington, D.C., for an exclusive, probably dangerous interview with the beleaguered president. Tagging along for the ride in their van are Jessie, played by Cailee Spaeny, a young, inexperienced photographer who aspires to a career like Lee’s, and Sammy (Stephen McKinley Henderson), an aging reporter who wants to go to the front lines in Charlottesville. Lee is vexed by both their presences. Jessie’s too young, and Sammy’s too old. The blood-soaked highways of the divided states of America are no place for either of them.
The journalists covering this war gather in hotel bars, get drunk, and loudly yuk it up with the jacked-up bonhomie we might recognize from movies set in foreign lands like The Killing Fields, Under Fire, and Salvador. They’re mostly numb to the horrors they’re chronicling. After the young Jessie is scarred by an early run-in with a man who threatens to shoot two unarmed, tortured, barely alive captives, Lee tells her that it’s not their job to ask questions or get involved: “We take pictures so others can ask these questions.”
One of the reasons Lee is such a legend in her field is because she has grown a protective shell around herself. She wants to get the picture. That’s it. She’s protective of Jessie but only to the extent that the girl will slow them down or upend their plans. “Would you photograph that moment, if I got shot?” Jessie asks. “What do you think?” Lee responds, as if the answer is obviously yes. But we also understand that Lee bears the psychological scars of what she’s seen. At night, alone in her bath at a hotel, she covers her eyes and revisits the horrors she’s photographed all over the world. “I thought I was sending a message home: Don’t do this,” she says of her earlier work. “But here we are.” Garland can be clunky and obvious with his dialogue, but Dunst can also make just about any line sound true. Her face tells one story, her words tell another; together, they bring this conflicted woman to life.
The film embodies Lee’s traumatized numbness to a degree. Garland knows how to build suspense, and he depicts astonishing violence with the requisite horror, but he also moves his film along in playfully provocative ways. After one ghastly sequence in which guerrillas shoot a weeping soldier, the director cuts to a montage set to De La Soul’s “Say No Go,” a song about a horrific subject that adds a peppy beat to the grisly images onscreen. (I was reminded of the way Stanley Kubrick’s Full Metal Jacket cut to the Trashmen’s “Surfin’ Bird” right after a similar firefight.)
Even the film’s episodic quality — it’s really just a ghastly travelogue through the war-torn Eastern Seaboard, with our protagonists confronted at each stop with some upsetting new incident — feels like a provocation. Part of shutting yourself off to such horrors involves being able to move past them, and Civil War, like its characters, glides past each monstrous vignette with unbothered brio. This can make the film feel weirdly weightless at times. Its characters are observers and nomads. If anything, they feel less invested in what they’re witnessing as the movie goes on.
Civil War’s lack of a political point of view, as well as its refusal to really identify the positions of its warring parties, has come in for some understandable criticism. But does any sane person really want a version of this film that attempts to spell out these people’s politics or, even worse, takes sides in its fictional conflict? (That sounds like it would be the worst movie ever made.) Garland does include flashes of real news footage from a variety of recent American disturbances, but he’s clearly done more research into media depictions of other countries’ war zones.
This is maybe his best idea, and why the film’s lack of political context feels more pointed than spineless: The conceit here is to depict Americans acting the way we’ve seen people act in other international conflicts, be it Vietnam or Lebanon or the former Yugoslavia or Iraq or Gaza or … well, the list goes on. In that sense, Civil War winds up becoming a movie about itself. Beyond the plausibility of war in the United States or the tragedy of such an eventuality, it’s about the way we refuse to let images from wars like this get to us. It’s more a call for reflection, an attempt to put us in the shoes of others, than a warning — not an It Can Happen Here movie, but a Here’s What It’s Like movie. It doesn’t want to make us feel so much as it wants us to ask why we don’t feel anything.
