A Longa Caminhada de Billy Lynn

This is a good movie. All the discussion about it surrounds the technology used in making it, and that's necessary, but it's not the whole story -- nor is it NOT the story as others would have you believe. The simple fact is that this is a well-acted and at times completely engrossing anti-war picture, one that is more often than not, yes, let down by some of the failings of trying to show off the tech. Some scenes come across as incredibly "stage-y" for lack of a better word, and the lighting can be overlit fluorescent too often (like a docudrama).

However, that being said, I did have the pleasure of actually being able to see this on 3D bluray and I must say it's absolutely the most stunning 3D I think I've ever seen. There's an incredible amount of depth to so many scenes -- sometimes it's showy, but sometimes it's in service of the story like when Billy comes home and the entrance hallway seems to stretch on forever out in front of him, inviting him in to its embrace but also providing a dark trap. The essential conundrum, the doublethink, at the center of his inner workings.

The moment the audience saw the first shot of Billy Lynn reaching for his phone, the audience gasped. Ang Lee's ambitious choice of filming at a frame rate of 120fps in a 4K and 3D format is beyond words. We become immersed into Billy Lynn's world, seeing the little details that we normally would not see in a film (imagine what Emmanuel Lubezki did in 'The Revenant' and times it by 5). The person I went with to see the film described it best, it was a very sensual experience not just from the cinematography, but also the interesting soundscape and phenomenal editing. There are small moments when what would be a mundane action becomes a trigger for Billy Lynn and his squad. Lee does not hold back in making the audience feel the PTSD of those soldiers which at times is beautiful done as well as a bit too much for those of us who have never experienced it. Now I could go on about how brilliant the film is technically and it's sure to get some Oscar recognition in that aspect, but all films revolve around a story.

What could have been an amazing film merely becomes an OK film because of the story's weakness. I read an article where the critic trashed Ang Lee, but to be honest it's not Lee who's to blame but whoever wrote the script. The script is so dull and because of that the audience never got the full immersion we were hoping to get. The only person we connect to by the end of the film is Kristen Stewart's character, yet that isn't even delved into. The relationships between the characters aren't developed very much except for one relationship that is developed WAY too fast and in the most unrealistic way possible. You can get a sense of a strong bond between Lynn and his squad, but just barely.

As for the acting, Kristen Stewart was definitely the standout. Joe Alwyn did a great job, too, but not the memorable debut performance I was hoping to see. Vin Diesel and Steve Martin are truly miscast (this may just be me being picky, but every time they came on screen I felt very uncomfortable).

To sum this up, I'm giving this movie a 7 out of 10 because of the technical brilliance and the experience of watching a film in this frame rate, though be warned that the story is very weak. Some people are going to find the 120fps very strange, but for the cinephiles who have an open mind, you'll be blown away.

Ben Johnson's novel has been exceptionally well adapted for the screen by Jean- Christophe Castelli and directed with the expected sensitivity of Ang Lee. It is a kick in the gut for those who see it – an anti-war statement placed in front of us as the never- ending wars in the Middle East continue to fester and destroy lives on all sides of the war zone and beyond. But it is also a biting statement about the time in which we live, a time when entertainment and gross spending of money is directed toward the insatiable appetite for big shows and stars and shallow moments of pleasure that appear to obsess us. The manner in which returning soldiers face 'instant glory' is overshadowed by the inherent bully-ism by a public that does not understand the cancer of war and how it metastasizes throughout our troubled planet.

The film is told from the point of view of 19-year-old private Billy Lynn (Joe Alwyn) who, along with his fellow soldiers in Bravo Squad (Garrett Hedlund, Arturo Castro, Mason Lee, Astro, Beau Knapp, Ismael Cruz Cordova, Barney Harris and Vin Diesel) becomes a hero after a harrowing Iraq battle and is brought home temporarily for a victory tour. Through flashbacks, culminating at the spectacular halftime show of the Thanksgiving Day football game in Dallas, Texas, the film reveals what really happened to the squad - contrasting the realities of the war with America's perceptions. Billy's family's response to his Silver Star heroism is conflicted with Billy's damaged sister Kathryn (Kristen Stewart) who pleads with Billy not to return for another tour in Iraq. Billy finds a possible entry to fame through a film about Bravo by Albert (Chris Tucker), thwarted by the wealthy insensitive would-be backer Norm (Steve Martin), an introduction to love by one of the Dallas cheerleaders Faison (Makenzie Leigh), and in the end, though disenchanted with America's reaction to what soldiers suffer in war zones, Billy makes the 'long halftime walk' back to his beloved buddies of Bravo as they prepare to return to duty.

The film seems all glitter on the surface until the inserted flashbacks of the realities of war in Iraq – a factor that makes the film even more poignant as an anti-war statement. This is a strong film that will move sensitive viewers – hopefully to action.

In terms of visuals Billy Lynn's was very impressive, however I would ask, is this the right genre of film to showcase such technical cinematography? Obviously such stunning shots could only be a plus to the film but for a film that is really more about one's internal struggles rather than exterior conflicts I do find it quite an odd decision to make this film in such a way. I did go in expecting an all out war movie since I have heard of all of these things that Ang Lee is doing in this film, in terms of visuals. Which did leave be surprised but also disappointed at how few those scenes are. Essentially this film takes place within a time span of one day and all takes place at this football game? What?

Obviously there were flashback scenes and all but there were quite few and every time we jump back to the present time it just leaves be craving for the next flashback scene. I can understand this message that the film was trying to send about being considered a 'war hero', about all the costs and sacrifices that soldiers are making each day and the way they are treated. How decorated war heroes are just a sort of title, people will show you and tell you how much they appreciate your services and what not but when it comes to actually giving anything we never seem to be so eager to. It is a film that showcases this idea of being crowned a 'hero' and what it really means, and sure that was quite an interesting theme to look at.

But perhaps to make this whole story more impactful instead of having flashbacks tell us the story overseas we get a whole first half of the film showing it to us, before all of the victory tour stuff. It just makes it very hard for audiences to understand the implications and the sacrifices that they have made if this sort of flashback storytelling is used. It is often hard to make a good war movie that isn't based on a true story, this is likely because when audiences know that it is fictitious the stakes wouldn't be so high, and it won't really touch people's hearts so to speak. So both these elements combine to create the war's lack of importance which is a very bad thing to have happen.

In conclusion, I liked what they were trying to say, the underlying idea and theme of the film came indefinitely of a good place. However poor storytelling and lack of story in general really made this film suffer quite a bit.

The politics of war are incredibly complex, and the human cost is disturbingly high. There are no wonder why those who give up their lives to fight oversea are honored with great dignity. But the big question in this war drama directed by Oscar Winner Ang Lee is: Are we honoring these soldiers the right way? That is an idea that this film takes a dive in, but not with enough impact. Lee's approach to the absorbing topic is too shallow of emotional touch. The greatest accolade Lee acquires in this picture is allowing it to shine with a unique visual innovation, and that is shooting the film with an unheard-of frame rate of 120 FPS to capture the immense atmosphere of the war sequences. It is a technological achievement that powerfully shows how far Hollywood has advanced in technological. Seeing this movie at a theater with an unusual frame rate that high is an alarmingly tough get as there are only six theaters around the globe that include this, with only two of these theaters planted in the United States. Set in 2004, this follows 19-year old Billy Lynn (played by Joe Alwyn), an Army specialist returning home from active duty in Iraq with his fellow squad members. On the day of a Thanksgiving home game at the Dallas Cowboys stadium, Billy, honored as a hero for his duty, and his squad members are brought together on a victory tour during the halftime show. During the tour, Billy is hit with flashbacks of the tragedies that occurred during the battle in Iraq including the death of his friend Staff Sergeant Shroom (played by Vin Diesel) as opposed to the American citizens fantasized perceptions of what they think happened over there. Along the way, he finds his heroism manipulated by film producers Norm (played by Steve Martin) and Albert (played by Chris Tucker) who are trying to land a movie deal out of the events that squadron's faced.

Based on the novel by Ben Fountain, this drama capitalizes on themes of patriotism and honor, and opens light on social issues that run between the grim realities of war and the distorted views of active combat by citizens back at home. The primary concern here deals with home civilians including the media exploiting the heroism soldiers acquire during active duty overseas, simply for our own personal gain. As disconcerting as it is, one thing this film proves is that unless you have been in active combat, you have little or no idea of what it is realistically feels like being in active combat overseas. Director Ang Lee makes an engaging point out of this concept. But alongside, the film also introduces these contradictions on how soldiers are celebrated by citizens for their active duty, yet people all over America continue to disdain war as an unnecessary bargain; an idea that the story never fully explores. From there on, the story slips into a jumbled mess and offers little emotional touch to the point where viewers are left with no impact. The film's emotional highpoints stand during the flashbacks of the title character and his squad fighting in Iraq which are powerfully shot and executed in authenticity. It's too bad that these scenes only make up a small portion of the near-two- hour runtime, while the majority the picture follows Billy and his squadron walking through the stadium during the halftime show with Destiny's Child performing and fireworks going off. If this manages to wring anything out of the story's framework other than its absorbing ideas, it is the performances, particularly Joe Alwyn as Billy and Kristen Stewart as his older sister, given the opportunity to flex her acting muscles. The rest of the cast offer some good on screen presences, operating with a sense of cynicism and humility. Looking for something Oscar- worthy though, you are probably better off looking elsewhere.

Billy Lynn's Long Halftime Walk is a shallow war drama that fails to arrest viewers with its timely themes and Ang Lee's scattershot approach to an otherwise thoughtful examination of its eponymous character versus America's fantasized perceptions of war. Although the final product is disappointingly forgettable, some may admire Ang Lee's effort on embracing the film with his visual innovation. However, its a technological effort that is too early to introduce in major theaters at this point.