{"id":2031,"date":"2024-04-19T07:59:35","date_gmt":"2024-04-19T05:59:35","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-civil-war\/"},"modified":"2026-03-21T18:17:42","modified_gmt":"2026-03-21T17:17:42","slug":"review-civil-war","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-civil-war\/","title":{"rendered":"Review: Civil War"},"content":{"rendered":"\n

In the near future, a civil war is escalating, threatening Washington DC<\/strong>. The President (Nick Offerman)<\/strong> prepares for a final stand. Veteran photojournalist Lee (Kirsten Dunst)<\/strong> and reporter Joel (Wagner Moura)<\/strong> embark on a perilous journey to the capital, accompanied by the young, aspiring photographer Jessie (Cailee Spaeny)<\/strong> and the seasoned Sammie (Stephen McKinley Henderson)<\/strong>. Their objective: to capture a historic scoop \u2013 the President’s imminent defeat.<\/p>\n\n\n\n

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Director Alex Garland<\/strong> first captured my attention with the masterful, in my opinion, Ex Machina<\/strong>. Further impressed by Annihilation<\/strong>, he quickly became one of my favorite directors. Garland’s career began in screenwriting, with credits including 28 Days Later<\/strong> and Dredd<\/strong>, before he transitioned to directing. Civil War<\/em> marks his fourth directorial effort, and my expectations were accordingly high going into the screening.<\/p>\n\n\n\n

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Civil War<\/em> represents both the apex and the nadir of Alex Garland’s directorial work. The film features some truly gripping and suspenseful sequences. I found myself physically reacting to the tension, my jaw and hands clenched. A particular scene from the trailer, featuring a menacing soldier portrayed by Jesse Plemons<\/strong> (Killers of the Flower Moon<\/strong>, Love & Death<\/strong>), is a masterclass in creating palpable uncertainty; anything can happen, and no one is safe.<\/p>\n\n\n\n

The war scenes are exceptionally well-executed, and the sound design creates a truly immersive and realistic experience as bullets seemingly whiz past the viewer. The performances are strong across the board, with Kirsten Dunst and Wagner Moura delivering particularly compelling portrayals. Cailee Spaeny also provides a nuanced and vulnerable performance.<\/p>\n\n\n\n

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However, despite the film’s technical prowess and strong performances, the script exhibits some shortcomings, and Garland’s attempts to imprint his signature style occasionally feel forced. One particular sequence, featuring incongruous music, felt like a self-conscious attempt at shock value, ultimately diminishing the impact of the preceding events.<\/p>\n\n\n\n

Furthermore, the film abruptly transitions into the action, initially obscuring Jessie’s initial exposure to the war zone. While I appreciate a degree of narrative ambiguity and dislike excessive exposition, this omission felt detrimental. The film eschews simplistic explanations and trusts the audience to infer context, which is generally commendable, but…<\/p>\n\n\n\n

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A slightly greater degree of contextual information regarding the origins and nature of the civil war would have been beneficial. As it stands, I found myself focusing more on deciphering the allegiances and motivations of the warring factions, detracting from my engagement with the core narrative.<\/p>\n\n\n\n

A minor detail, perhaps, but the lack of hearing protection for the journalists in combat situations was a distraction.<\/p>\n\n\n\n

In conclusion, I recommend Civil War<\/em> for its originality; it’s a refreshing departure from the endless stream of sequels, reboots, and remakes, offering a genuinely unique and compelling cinematic experience. Its success is well-deserved, marking it as A24’s<\/strong> highest-grossing film to date.<\/p>\n\n\n\n

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