Green Zone

Green Zone is the latest Iraq War inspired motion picture. I wasn't expecting much and ended up being pleasantly surprised. It's a fast paced and riveting ride from the get-go. The war being fought in the film is more between the Pentagon and the CIA than the US v Iraq which makes it all the more interesting and the film allows you to see things from Iraq's perspective for a change. The premise set up in the film regarding the 'Intelligence' regarding Weapons of Mass Destruction used to justify the invasion is entirely believable. Matt Damon is well suited to his part as a unit leader Roy Miller, as is Brendan Gleeson as the CIA man and Greg Kinnear is refreshingly nasty as Poundstone from the Pentagon - all turn in good performances. Shot on location in Morocco, Spain and in England I could have sworn we were in Bagdad the whole time - settings are very convincing. Yes, there is too much hand- held camera movement that quickly brought on discomfort followed by a headache but that is my only negative and as the film doesn't outstay its welcome I'm willing to concede the shakiness probably lends an 'embedded' realism. Is any of the plot or characters based on real events or people? I have no idea other than learning the film is based on the 2006 non-fiction book 'Imperial Life in the Emerald City' by Rajiv Chandrasekaran, a journalist for The Washington Post. I haven't read the book so I can't comment on how closely the film follows it. I spent a few moments of the film wondering about the story's authenticity but as a piece of cinema entertainment in its own right Green Zone gets the green light from me.

The new offering from Paul Greengrass is an intriguing progression from his previous films. Marrying the political engagement of films such as 'Bloody Sunday' with the blockbuster attraction of the Bourne films, 'Green Zone' was always going to promise attractive viewing, and it doesn't disappoint.

Matt Damon's character, Chief Warrant Officer Roy Miller, is in charge of an American Armed Forces unit in search of Weapons of Mass Destruction during the early stages of the Iraq conflict. When their search proves fruitless, Miller begins to question the supposedly 'solid' intelligence that gave the locations of these WMD sites. The plot follows Miller's demand for answers from an unstable command desperate to hide them, revealing a political division at the heart of the U.S administration.

Yes, this is fiction, but Greengrass has become adept at tapping into our taste for conspiracy, contextualising his stories within a political reality that has become all too familiar to us since the invasion began in 2003. It's thrilling stuff, and I think that is the key word to remember when watching this film. Thriller. Yes, there is political content here, and yes, it does hold up to some scrutiny. For example, the opening of the movie portrays the sense of confusion of conflicting command structures particularly well, really getting into the disorientation and intrigue of a military operation that isn't going as planned. The role of journalist Laurie Dayne (played by Amy Ryan) also provides a well-executed analysis of how the media's coverage of the facts can be impaired by the manoeuvrings of political and military authority.

There are moments when this political engagement appears heavy-handed, but that is because the director's priority is always, first and foremost, entertainment. For example, there is nothing subtle about Damon's character walking into a scene of Americans drinking and lounging by the pool of one of Saddam Hussein's palaces. Furthermore, the film suffers from conventional Hollywood stereotypes when it tries to depict the 'downtrodden-yet-hopeful' Iraqi citizen, who works with Miller in order to expose the truth about his country. Khalid Abdalla (best known for his lead role in 'The Kite Runner') does his best with the material available, but the role lacks depth and complexity, and for me is one of the few disappointments of the film.

But, as I said, this a work of fiction, and there are plenty of moments where our taste for excitement and spectacle is satisfied. Greengrass' now familiar 'handycam' filming style is appropriate to the sense that we are never sure as an audience where the threat is going to come from. It provides a kick of adrenaline to the action sequences, making us feel the sand in our mouths as we are thrown to the floor, and adds docudrama realism to the events on screen. Some of the reviews I have seen complained about this style of cinematography, but I think Greengrass has managed to make the technique contribute to the content of his film, rather than becoming overly intrusive or threatening our cinematic experience.

There is a delicious feeling of melodrama to the piece as a whole – the moustached Jason Isaacs as the sinister Special Forces operative provides a gripping counterbalance to the inquiring Matt Damon. Brendan Gleeson is superb as the CIA agent that won't roll over and accept the demands of the military and political commanders. Indeed, the cast as a whole appears to work well together in a film that successfully marries the need for political engagement with the desire for cinematic spectacle. It is a film designed for box office appeal, and yet despite this it doesn't compromise on the political foundations on which it is based. Its climax is a fine reward for the audience's suspense – in short, a well-worked film that cuts to the heart of our craving for conspiracy and revelation.

James Gill (Twitter @jg8608)

Green Zone is a movie about a soldier, leader of the team hunting for WMDs in Iraq, tries to step over the official army bullshit line and the red tape and actually achieve something. He gets a lucky break in finding a lead on general Al Rawi (the Jack of clubs in the famous Iraqi card deck) and stumbles upon a secret that explain not only why there are no WMDs, but also why (or better said how) the Americans came to enter the war.

As a movie it is a neat action film. A slightly less physical Bourne in Iraq, but with a political edge. It features shootings, helicopters, drama, conspiracies, evil suits, mislead Americans (represented, of course, by a journalist) lots of people speaking Arabic for no good reason other than they are Iraqi and lots of cramped alleyways.

There was a controversy about how the movie seems to reflect upon a real story. The real-life Roy Miller (actually Richard Gonzales, but shh, Miller sounds better), who also worked as a consultant for the movie, has issued a statement in which he clearly states the plot is a fantasy. I like how he ends the statement: "The real story of the hunt for WMD is, in fact, more interesting. Maybe one day, someone will want to tell that story.". A bit sad and a bit hopeful. Maybe History Channel will pick up on it in a few decades, when the heat is off ;)

Bottom line: well done action thriller, better than most, but then I like Matt Damon as an actor, so maybe I am biased. Certainly above average.

Green Zone is a film that deafly navigates the possibly disastrous path of action saturation, creative liberties and touchy subject matter. Matt Damon's and director Paul Greengrass' third effort after The Bourne Supremacy and The Bourne Ultimatum tells the fictionalized but accurate account of the span following the opening siege of Iraq, where the supposed WMD program of Saddam Hussein failed to unveil itself. Green Zone will keep those looking for a sharp action-war film entertained and enrapture those interested in the politically charged events of the war without alienating either group.

This may not be the hard hitting expose for which some may be yearning, but it is all we could hope for in a mainstream Hollywood product. Greengrass is certainly no stranger to the events surrounding Iraq, having already helmed the highly touted United 93 which tells the story of one of the doomed planes on September 11th of 2001. His obvious passion for the subject gives Green Zone the gravitas and grounding a film like this needs and with the exception of multi-Oscar winner The Hurt Locker and Ridley Scott's Middle Eastern thriller Body of Lies this is the strongest of the growing glut of such movies.

Damon stars as Roy Miller, a chief warrant officer who is at the forefront for the search of WMD sites, all of which were gathered from a mysterious source known only as 'Magellan'. When site after site turns up empty, Miller begins to ask questions that high ranking officials do not want asked. With seemingly his only friend in all this, Marin Brown (Brendan Gleeson) a veteran CIA operative, and an Iraqi interpreter named Freddy, Miller goes rogue to uncover the truth. Standing in his way are the remaining loyal insurgents, a Whitehouse bureaucrat named Poundstone (Greg Kinnear) who wants to keep things on track and his asset on the ground who is tasked with stopping Miller's inquiries.

Matt Damon is extremely solid here. He has no weepy dramatic scenes or big blow-ups through which to act showy. He is very believable and low key and is an infinitely charismatic and commanding presence on screen. Kinnear is also quite good as the slimy suit that stands in the way of our hero and the lesser know supporting cast all drive home noteworthy performances as well. Much has been said about Greengrass' hand-held camera technique which seems to leave some on the nauseous side. I have however, come up with a theory in light of all the critics starting to get on my nerves and actually managing to turn my attention to the so called shaky cam, which has never before bothered me.

Take for example film critic James Berardinelli who seems to be on the line when it comes to that style of shooting. For the latter two Bourne films, he made ample criticism of the shaky cam and it would seem that his overall consensus reflected such. For Green Zone he claimed the vibration was far more restrained, which is in contrast to most other critics who claimed it was the worst yet. My theory? One's perception of the film is not due to the camera movement, but rather the inverse. Depending on how engrossed a person is with the material, performances etc that is how watchable they perceive the film to be. So in the case of Berardinelli, the camera movement was likely fairly similar, but he found Green Zone's material simply better.

Cinematography aside, Green Zone is a rousing action film with a spectacular climax. Not only will it keep you entertained on a Friday night, but it will serve as a reminder of what happened in Iraq every time you press play.

Read all my reviews at simonsaysmovies.blogspot.com

Feel like seeing an action flick, watching bodies fly everywhere, and good guys kill bad guys? Do not see this movie.

Green Zone was a very surprising experience for me. I was on the way to the cinema expecting, as several posters quoted, 'Born goes epic'. Instead, I got a nice combination of politics, moral dilemmas, and maybe even some very light philosophy.

The film takes a popular, but still a controversial & for many people shameful, view on the Iraq war. The plot is complex but relatively easy to follow thanks to a(sometimes too) straight-forward set up, good directing, and sensible scene sequences. The plot does not bring you any traditional action flick twists and rarely pushes you to the edge of the seat, but makes up for it by making you think about some of the more real and worrying aspects of war and politics. The characters could have used some more development and dynamic, but on the bright side it was nice to not have every single thing rotate around Bourne. On the contrary, throughout the whole movie the focus was on a wider picture rather than on any of the more specific details in the story itself. It was nice to see the lines between bad & good drawn in such a blurry manner. I was confused and indecisive in labelling characters as on the goody or the baddie side. The plot had an interesting ending, slightly ruined by a cheesy line from one of the characters, but brilliantly made up for by a fantastic scene of Baghdad at night. I found that whilst the epilogue of the movie was needed to explain consequences, something like a few sentences appearing on a black screen would have finished the movie in a much nicer mood than that in which it finished in reality. The plot took up an intellectual viewpoint on the Iraq war and gave me something to think about on the subject of both the Iraq war and the idea of war in general. This was something that you rarely see in movies like this, and made the movie the enjoyable experience that it is.

The directing & cinematography in the movie were nothing special. Several style ideas were re-used from the Bourne movies, and action was not always as gripping as one might want, or at least expect. However, it was never bad either - all sequences kept a consistent standard of dialogue, special effects, and the little action that there was.

The acting in the movie was one of the few things that I expected. Matt Damon delivered his usual performance: a cool, in-control soldier committed to get to the bottom of things. The supporting actors all delivered their parts well enough, with Greg Kinnear holding his usual cunning, conniving, corrupt, money-thirsty politician role. However, because, as mentioned before, the film focused on a wider picture, the acting did not put me off the movie in any way whatsoever. The one other thing which the movie lacked almost entirely throughout was humour. It's always nice to get a giggle in between moral implications and people dying all over the place.

I have given the movie 7 out of 10 in total, with seven points for wider plot depth, intellectual aspects, directing & cinematography, CGI & special effects, and the last three points deduced for acting, immediate plot depth, action sequences, and humour, or rather the lack of it. It's a pleasant and original surprise, and something that will make you think after leaving the cinema.

MK