Garland's exploration of a future where conflict has broken out in the United States is nothing like you would expect and all the better for it.
The Big Picture Alex Garland's Civil War feels stressfully pertinent and ominously ambiguous in its stances about America's past, present, and future. It’s not the militaristic action-thriller A24’s marketing trailers are selling. Garland’s screenplay dutifully explores the rushes and trappings of combat journalism set to our vulnerable nation’s downfall, which stays more in the background.
Civil War is an objectively contemplative and ruinously compelling tour de force ingeniously told from the perspective of journalists. Garland’s beginning is the war’s end; Offerman’s POTUS prepares for either escape or execution. Dunst is the film's sharpshooter, only she uses a camera to capture the ugliest war crimes and consequences instead of a sniper rifle to defeat enemies.
The performances only heighten the sense of instability and outrage that overtakes during Civil War. Dunst conveys widespread journalistic advice that's cheeky and sincere to newcomers, and that’s never to get involved. The thanklessness and gut-punching effort that goes into becoming a renowned journalist does terrible things to people, which Civil War does not sugarcoat.
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