Customer Reviews

Home of the Brave

5 star:		(16)
4 star:		(8)
3 star:		(10)
2 star:		(5)
1 star:		(12)

 

 

Mere weeks away from learning that their unit has received orders to go home from Iraq, various soldiers go on a humanitarian mission and run into an ambush. Chaos ensues, and all receive an injury in one way, shape, or form. Weeks later they are all in Spokane, Washington and the four main characters (Vanessa - Jessica Biel, Will - Samuel L. Jackson, Jamal - Fiddy, and Tommy - Brian Presely) deal with piecing their lives together while many hate the war, and by proxy, hold that hatred against the soldiers involved in it. The rest is just a person-by-person experience of individuals coping with semi-related post-war lives.

Home of the Brave is controversial in that it's difficult for a movie-maker to relay a message that's very positive of the military life or the struggles of a soldier - and keep a job in Hollywood - but it's clear that the creators of this movie didn't even remotely try. They paint a bleak picture of abandoned, abused, and shell-shocked soldiers who drink uncontrollably, can't control their anger, and can't relate to the "civilian life" outside of the foreign world of the military. In that sense, Home of the Brave reminded me in many ways of The Things They Carried by Tim O'Brien. Pain often accompanies scars, but what doesn't always coincide mentally, however, is the visibility of those same scars. Outward appearances don't always convey the truth of trauma or mental difficulties.

With all that said, however, as a former soldier and family member of several generations of soldiers, I can say unequivocally that the image conveyed is hazy to say the least. To be more accurate, it's slanted politically, with hints and outright displays of ignorant anti-war rhetoric, and reeks of the same type of elitist comments made by John Kerry about the correlation between being in the military and a lack of intelligence or education.

While the biased, hyper-focus of the movie is on the troubled few, what's left out is the great majority who deal with their troubles without a comment or complaint. Therein exists the truism of bravery, courage, honor, and sacrifice of the majority, and perhaps it would do the Hollywood folks a bit of good to concentrate a little more on those stories, because I've heard several and I'm sure there are countless more.

I couldn't even make it through this joke of a movie. Decent cast with the worst script ever laced with an agenda and biased outlook make this movie look like some crap that was made for TV by PBS or something. The basics of the movie are that EVERY soldier that goes to Iraq comes back either in a body bag or in pieces, ignoring the fact that more Marines have died in motorcycle crashes than in combat in Iraq. It portrays every soldier as some drunk lunatic fool. Of course that's what hollywood thinks anybody that enlists in a 100% VOLUNTEER army is, even though they constantly profess they are "against the war but support the troops". You'd be hard pressed to find many people that are pleased with how the conflict in Iraq has gone from the beginning but this movie is just nonsensical over the top garbage propaganda. The movie had plenty of potential if it would have been more realistic. Maybe then it would have been easier to write some decent dialogue for the cast to work with.

Within the first 20 minutes I knew that this would be an overall terrible movie.

The "war" aspect of it is EXTREMELY inaccurate....M-16A2s currently in use are NOT fully automatic, a small squad of three soldiers would not go running from building to building nor EVER pursue 2 individuals through alleyways for hundreds of meters, and they would definitely NEVER leave a wounded soldier alone and say "Don't worry a medic is on it's way", and in an ambush two unarmored vehicles, or any for that matter, would split off the main group and drive off on their own. All this happens within 10 minutes of each other. As a currently soldier, I wanted to throw my size 10 boot through my TV.

And then comes the main point of this movie (wait, is there even a point to this nonsensical crap?) which is their return home and struggles with PTSD. Sadly, the American public is overall blind to what PTSD truly is, and this movie doesn't help. Not every soldier, even those with PTSD, struggle with their lives, violence, and alcoholism. It seems this movie was written by anti-American, anti-soldier, bitter individuals with a grudge against the Army. It portrays them as hopeless losers who can't function in society at all. So, sadly, this movie continues to add to the stigma of the wounded.

Aside from people like Mark Cuban and Stephen King, who think all soldiers are murders and rapists or uneducated idiots (seriously, look at what either of these two say!) I can't think of anyone who would watch this movie and enjoy it in the slightest. Even the movie Stop Loss, made by MTV of all companies, was far more accurate in depicting PTSD.

HotB is about three soldiers returning back from a tour in the ongoing war in Iraq and their adjustment issues. In the leads: Samuel Jackson as army surgeon Will Marsh, who feels guilty about his powerlessness to save people and about having become desensitized to their suffering; Jessica Biel as supply runt Vanessa Price, who got her right hand blown off by a roadside bomb, triggered by a kid with a cellphone; Brian Presley as soldier Tommy Yates, who lost his best friend just days before the scheduled return home as a result of the same ambush that occasioned Vanessa's injury.

That ambush of what amounts to a humanitarian supply convoy is what loosely connects the characters; as Marsh is the first to tend to Vanessa and she briefly catches a glimpse of Yates as well, before everything goes to the dogs of war.

The first segment, in Iraq, portrays some of the pressures of being a soldier, at all levels and in all functions; always having to be on guard, because anything else will kill you. The operative term is 'always'; unrelenting tension and stress, sometimes apparently qualifying as mild, but it never leaves you. For there are people around who hate you and will kill you whenever they can. There are also those who don't hate you and who may even be glad you're there and doing what you're doing, but it's in the nature of things that they will not go out with the same fervor and try to protect you; nor will they speak out in your defense with the same vigor as your opponents. This is, after all, the nature of these things.

So, these three come home--plus a few other, more peripheral, figures--and, unlike is the case in other 'soldiers returning home' movies, nothing much actually happens. Which is part of the problem. For the normality of the life of those they are charged to defend--for whatever reason and motivation--is stifling with its normality and the complete lack of appreciation of their situation by those they return home to. So Marsh walks into a home where his son is disgusted not only at the war, but also at his father being a part of it; plus he has trouble sleeping, because he had gotten so used to not getting much sleep. Vanessa has to deal with being a solo divorced mum whose relationship with former boyfriend, Ray (James McDonald), went to the dogs some time ago, and who has to deal with being a one-handed cripple, who can't accept help even from friendly strangers like Cary (Jeffrey Nordling). Tommy has to deal with his father, who's a good guy but a bit dense and simple; a former buddy who's gone mentally AWOL for a number of reasons, and whose rage focuses on his former girlfriend who isn't interested in him anymore; as well as Tommy's own nagging guilt feelings at leaving his fellow soldiers behind to fight, while his own life's become 'safe'--in a manner of speaking.

The problems at home would have appeared trivial in comparison to those these three faced while in the warzone. But they're not, because all problems and their magnitude are relative. Still, all of them have this notion that they don't fit, all for apparently different reasons--they all are the same.

Irwin Winkler's direction and the script focuses on the ways in which it might be possible to overcome those problems; the manner in which those exposed to the brutalities of war may be redeemed and become, if not 'normal', but at least 'adapted' to life outside a warzone again. In the process the movie is careful to lay open the mood in the US with regards to the Iraq war; both sides of it, and with equal and evenhanded fairness. In the process it avoids making what amounts to a judgment, because that's not what what this movie is all about. It has much more the air of Ridley Scott's Black Hawk Down, which also focused on soldiers, rather than politics; all the time acknowledging that there were political issues, but they were at another level and sometimes had to be put aside--with the notable exception of a certain, entirely justified, cynicism toward all politicians; as well as all those who basically don't end up having to put themselves in harm's way--except maybe in an election, which hardly compares.

The solutions offered by the film are fairly simple, and they have to do with love, understanding, consideration and appreciation; not just as carried out by the professional machinery of organized 'rehabilitation', but by the only ones who can do this in a sustained way: family, friends, neighbors and so on, in an ever-widening circle. And this isn't happening, by and large, though the movie suggests that it might. Sometimes. For the lucky ones. Because, as far as the fate of returned soldiers these days are concerned, all three main protagonists in HotB qualify as 'fortunate'. One would wish that it were more than a few.

The editing of this film is interesting and fits with the need to follow the fates of three separate lives without too much discontinuity as the focus shifts from one person to another and another and back again. It's also difficult to tell the passage of time, but once one gets used to it, it flows easily enough. The moving shots in the warzone contrast with the many static ones 'at home'. Short scenes alternate with long ones in deft timing. The pacing is thoughtful and measured. At the end there are more questions unanswered than at the beginning. Which is as it should be.

The story opens with soldiers learning their unit only has two weeks to go before returning home. If you have a sinking feeling in your gut, you're right. The unit's attacked on a humanitarian mission and a near bloodbath results.

The unit does go home to Spokane, WA, but none of them are ready for the 'hearty welcome' and most don't get it, anyway:

Will (Jackson) is a doctor who can't relate to his family or his patients and has taken up drinking

Vanessa (Biel) lost her arm in that attack. She can't relate to her old boyfriend and is having a difficult job as a phys ed teacher.

Tommy (Presley) lost:
* his girlfriend to a "Dear John" letter
* his best friend in the attack mentioned above
* his job when he returned home--oh and his sensitive boss asked: 1. did you shoot someone? 2. did you kill someone?

Jamal (50 cent) girlfriend won't talk to him. He's lost, bitter, and can't even get a discharge.

This is a worthy subject for documentation. The problem is the story's predictable, the dialog is toss-off in many points, and the whole message just gets bogged down.

If you like any of the actors, like war films, etc. give this film a look. In my opinion, "The Valley of Elah" tells the returning soldier story in a more real and better acted fashion.

At an advance screening of HOME OF THE BRAVE, the studio flunky introducing the picture claimed that it's the only film that's been made of one of America's wars while the U.S. was still fighting it. Oh, wrongo bongo! I can offhand think of three made about the Vietnam debacle during the period of that conflict: A YANK IN VIETNAM (1964), TO THE SHORES OF HELL (1966), and THE GREEN BERETS (1968). Perhaps the politically correct might tend to forget these as none were anti-war, and the last, starring John Wayne, was unabashedly pro-U.S. involvement. How quickly we forget that there were two sides to that debate.

The first twenty or so minutes of HOME OF THE BRAVE, taking place in Iraq, is the introductory bit when we meet Will (Samuel L. Jackson), an Army medical officer assigned to a forward medical unit, and three Army enlisteds: Vanessa (Jessica Biel), a driver in a motor transport unit, and infantry grunts Tommy (Brian Presley) and Jamal (Curtis Jackson). While on a humanitarian aid mission, a military convoy carrying the four is caught in a vicious urban ambush that includes an explosive device hidden in the body of a dog.

The balance of the film takes place in Spokane, WA, after the four return to the home base of their respective national guard units. Vanessa is now minus her right hand. Will, who'd been tasked with providing initial trauma care to so many horribly maimed young soldiers (including Vanessa), now finds himself emotionally disconnected from his civilian patients, while at the same time having to deal with the hostility emanating from his anti-war, teenage son. Jamal is wracked with guilt; while in pursuit of the convoy's attackers, he accidentally killed an Iraqi woman while searching her home. During that same pursuit, Tommy had his best friend die in his arms after the latter was twice shot in the back by an insurgent gunman.

My screening's viewing audience was informed that Director Irwin Winkler thought the Iraqi war would be over by the time HOME OF THE BRAVE was released. Thus, it's perhaps not surprising that it doesn't overtly support or condemn our presence there since its appearance in American theaters was assumed to be after the fact. (Interestingly, one of the protagonists decides to return to Iraq for all the right reasons; reasons that may leave a lump in the viewer's throat.) Rather, it's an emotionally wrenching study of four average Americans left to cope in the normal world in the aftermath of violence. Each of the four principals gives an Oscar-worthy performance, as does the character of Will's long-suffering wife Penelope (Victoria Rowell), who discovers that life with hubby home doesn't meet long-harbored expectations.

Of course, just as the media doesn't consider news worth reporting unless it's of the bad sort, HOME OF THE BRAVE ignores all those war veterans, perhaps a majority of those who have served or are serving, who ultimately return home to take up where they left off without having hit too devastating a speed bump in their lives. In any case, whether you support or condemn our nation's current entanglement in that wretched toilet of a country, you must necessarily come away from HOME OF THE BRAVE with an admiration and sympathy for our uniformed men and women that serve there. And shame on you if you don't.

Really would love to give this movie a 5, wanted to do a 3, but give a 3.5 because the subject matter is so important. First try viewing I feel asleep, 2nd try it was a little better. The script was so darn bad as well as the acting. A few scenes were actually pretty good, hit home w/"real life" post war situations, but the rest were just plain awful as in hard to watch like the scene in the movie theater. I felt like I was watching Army Wives, The Unit, or a made for TV movie. I have to say they covered a lot of ground right out of the headlines/internet in one movie which may have been part of the problem. Some great points were demonstrated and made, it's a shame the movie was so poorly done. It's worth watching, just don't expect a whole lot. There are far worse movies out there.

To have been living in Iraq these Soldiers had the cleanest, most starched uniforms I have ever seen in a filthy dusty desert environment. All their gear was brand spanking new. Vehicles had no bullet holes or bangs, someone didn't do their homework. Yeah, they showed the Joe's having to come up w/their own armor for their humvee to make a point, but the whole Iraq environment looked so fake thus the TV feel.

For the average clueless American, I would say this movie is a start to perhaps give them a peep at what our returning face, but for those that deal in real life post deployment, it doesn't come close at conveying what needs to be explained and told about our Veterans. They tried though.

To those who want to see a plain jane warmovie, chose something else or simply enlist and experience for yourself. This movie takes on a very important subject and does so with respect for all those who serve. Yeah, it may not be all that drama in real life but so are all movies. That is why they are labeled "action" or "drama" etc. The battle scenes themselves could do with a military advisor (hint; when mortars land in your proximity you normally don't stroll to your post). The main issue in the movie is coming home. I know from first hand experience coming home from combat and also be the one being home waiting for a loved one. The alienation, resentment, confusion and longing to go back are all to familiar themes. It is useless to get you family and friends to read books on combat psychology, but seeing this movie may help them understand how it may be like to come home and why. And the returning vet might also need to hear about the prolonged tension it is to be waiting for a loved one, only to have an arrogant stranger coming home in his or her place. This movie deserves to be seen.

'Been There, Done That" - Meets "Coming Home". This film's title was taken from a powerful war movie made approximately fifty years ago, same title stared Lloyd Bridges, Steve Brody, Frank Lovejoy, Jeff Corey, and introduced a fine young afro-american actor named James Edwards. However,
this film is like some of the other movies trying to enlighten the public on the aftermath of war with little impact. America has a short memory; right now everyone is in "Support The Troops" mode. Just wait , once the conflict ends, let's see if the country has the same feelings about our brave young men and women who will need care and understanding. Believe me, I know (Vietnam vet with 3 tours under my belt). I strongly recommend viewing the original movie "Home Of The Brave" if it is available in vhs/dvd format.

Varied messages and skewed perspectives abound in this calamity of Iraqi war aftermath victims. Home of the Brave has good intentions and controversial subject matter, but it doesn't translate into an entertaining bit of cinema. Actors such as Samuel L. Jackson who usually churn out admirable performances are left with nothing to work with due to an obnoxious script and meager supporting characters; asinine dialogue carelessly peppers this defenseless cinematic convoy.

Home of the Brave revolves around four soldiers who return home after a lengthy tour in Iraq. Will Marsh (Samuel L. Jackson) is a medical captain who is haunted by the lost lives he could not save. Vanessa Price (Jessica Biel) is a military cargo driver who loses her hand in a roadside explosion, and must readjust her life around her scathing injury. Tommy Yates (Brian Presley) is a specialist who deals with the torment of watching his childhood friend die in his arms from an Iraqi insurgent, and Jamal Aiken (Curtis Jackson) must cope with the accidental shooting of an Iraqi woman during the firefight that ensues after their convoy is ambushed. All four soldiers crumble under the hardships of adjusting to their old lifestyles and the dour impact the war has caused.

Back in 1946 a little film called The Best Years of Our Lives garnered eight Academy Award nominations and seven wins, including Best Picture and Best Director. Its premise was heartwarming, the acting superb, and the tearjerker moments abundant. War torn veterans return home to discover a changed world that was unsympathetic and ignorant of the atrocities that took place during World War II. Home of the Brave is essentially a remake of that film, replacing WWII with the current Iraqi war. The exception of course, is that Home of the Brave fails to generate even the mildest drama and human emotion evoked from the 1946 classic.

The film begins with predictable action reminiscent of the least impressive scenes from Black Hawk Down. Explosions and gunfire rattle the crumbling walls of the Iraqi city. But poor timing and ill-contrived slow motion shots clutter the already bland action. On top of that, the acting is abhorrent. While Samuel L. Jackson and Brian Presley make a decent attempt, they simply don't have much to work with. Curtis Jackson is horribly miscast; his character is pointless, nonsensical and nearly unintelligible. Biel also hands in an uninspiring role with ludicrous dialogue. Her rubbery hand prosthetics are continuously used in unintentionally hilarious scenes with laughable quips which further mock her handicap and the seriousness of losing limbs. Understanding and connection with the characters is never established and therefore the audience is left questioning how they should feel about the situations depicted.

The major political themes in the film are also ambiguous and conflicting at times. Marsh defends his son's anti-war mindset even though he willingly participated and supported the war. Nearly the entire film shows the negative aspects of war and the uncompromising and depressing inner conflicts each character suffers with. And yet at the conclusion the mood abruptly circles toward support of the war and those who can no longer live without the pressing sense of camaraderie. Yates is so distraught and uncomfortable in adapting himself into his previous lifestyle that his only choice is to go back to the harsh conflicts in Iraq where he understands the soldiers and their need to fight for what they believe in. Why push the negative outlook, only to resolve with Yates' unexplainable drive to reenlist? Is the film defending the war or criticizing it? Apparently it doesn't know.

While veterans and those familiar with the crippling aspects of combat may relate to the characters or situations, unfortunately, like the families of soldiers who stay behind and maintain their normal lives, general audiences won't find anything fulfilling or noteworthy about this movie. The pilfered plot from a far superior film, the absurd dialogue and the mediocre acting all contribute to a generic war film that will certainly be passed up as soon as its one week theatrical run deceases.

- Mike Massie