Les soldats du désert

Sincerity oozes from every scene of The Home of the Brave, but it can't disguise a rather routine story that has been told many times before. Essentially an updating of The Best Years of Our Lives, the film follows the trials of three veterans of the Iraqi occupation as they struggle to adjust to life back in civvy street. Jennifer Beils returns home minus her hand, Brian Presley is haunted by witnessing the death of his childhood friend while on duty, and surgeon Samuel L. Jackson is guilt-stricken by the lack of emotion he felt when he failed to save the wounded soldiers on his operating table. Like Harold Russell, Biels struggles to come to terms with the loss of her hand (although the hook has been replaced by a chunky looking prosthetic), which costs her a relationship, and like Dana Andrews, Brian Presley returns home to find his job has been given to someone else and finds employment in a low-paid job (ticket clerk at a multiplex instead of Andrews' soda jerk). In easily the least convincing storyline, Jackson seeks refuge from his feelings in alcohol.

The film's script can best be described as prosaic, with a couple of high-points standing out from the alarming reliance on familiar phrases and sentiments. The scene in the vice-principal's office is well played, and there are a couple of insightful moments, but everything looks too familiar, as if the film has been cobbled together as a kind of homage to the best of previous 'coming home' movies.

While no one questions the bravery and dedication of the troops from all countries in places like Afghanistan and Iraq – and there is no suggestion that this film is anything other than a genuine attempt by the makers to depict how it feels to find yourself a stranger in your own land with emotions you can't control or understand – you can't really hope to create a successful film if you're not prepared to allow it to embrace the bigger picture. I wonder how many people return from these places feeling betrayed by their leaders, and that they've been used by their country for reasons other than altruistic. The idea that the war in Iraq is about America's need for oil, and the questions arising from the States' heavy involvement on the world stage and the perception such an involvement gives rise to amongst its own population and people around the world, is only briefly alluded to – and even then by a troubled juvenile who is ostensibly rebelling against his parents.

A better title would be "Home of the Made-for-TV Movie"--You'd have to be from the "home of the brave film critics" to sit trough this laundry list of post-traumatic syndrome clichés. Three Iraq veterans return to face a civilian world that doesn't understand and personal demons that won't let them forget the ungodly carnage they lived through. But nothing is new or unique, no dialogue is incisive, no action is memorable.

The film does remind us about how unfair the whole Iraq invasion is to the soldier, who not only must suffer the damages to limb, life, and psyche but must also face a hostile electorate which carries little of the respect and patriotism that welcomed soldiers back from WWII. In this way, director Irwin Winkler achieved a success: He catalogued the suffering of the returning soldier, be he a surgeon experiencing the horror of failure to heal or a female grunt losing a hand and learning to live with the clumsiness.

A work of art should be unique in some way, often in its vision of its subject. Home of the Brave says nothing new to a populace awaiting insights into a war that still makes no sense. In that regard both fictional soldiers and real audiences remain largely clueless about the Iraq dilemma. Perhaps President Bush could help—I don't think so.

Director Irwin Winkler's look at post-war life for several Iraq war veterans, is neither totally convincing nor entertaining. Despite having some powerful scenes, which raised some good points from a psychological and political perspective, the film failed to paint a realistic picture, which allowed the audience to truly position itself in the shoes of the characters. As I watched the film I did not entirely believe Samuel L. Jackson or Jessica Biel's character, and both were unconvincing, especially Samuel L. Jackson who had some very good moments, but due to a lacking script, went over-the-top at times. (Brian Presley) was not bad, but having 50 cent in this film was a casting catastrophe. They should have made better choices in the casting, but then again, there was a lot of other flaws in making this film, which I admit, is a tough type of film to make, but this just felt rushed and not enough precision an effort put into producing, writing and creating an original and realistic film about post-ware life.

I thought the cinematography, editing and music did very little to help matters a just didn't engage me throughout the film. The opening sequence which takes place in Iraq is almost a joke, as at times It felt like it was in East LA, now I don't know where they filmed it, but that's not a good way to start off a film. Overall this film had potential but was a misfire in my book, and had it not been for a few good scenes, moral arguments and okay acting (at times), it would get an even lower score from me. 5/10

Four soldiers return from the Middle East to discover that they can't make the adjustment to fat, peaceful civilian life as easily as they thought they would.

One of my favorite George Carlin routines -- in an intellectually-funny-and-true way -- is how we take strong, simple words, and substitute long, soft phrases that mean very little. The example he used was how the World War One phrase "shell shock", which is simple, graphic, and clear, became the longer and softer "combat fatigue" in the Second World War, and finally "Post-Traumatic Stress Disorder", which is so bloodless and vague it can be used to apply to what happens after any unhappy event. And so we lose the ability to identify and deal with shell shock. When the aftermath of days of constant war is described in the same way as a bruise on the arm, you can treat neither the readjustment to peace, nor a bruise.

That's what this movie is about. Four veterans are left to struggle on their own mid loving family who have no idea what's going on: Samuel J. Jackson, Jessica Biel, Brian Presley, and Curtis Jackson. They all give good performances.

After getting notice that they're soon going home, an American unit gets ambushed in Iraq. Will Marsh (Samuel L. Jackson) leads the drivers. Single mom Vanessa Price (Jessica Biel) survives a blast but loses her hand. Tommy Yates (Brian Presley) holds his dying best friend Owens in his arms. Jamal Aiken (50 Cent) gets hurts tripping over some bricks. They return to Spokane. Surgeon Marsh is dealing PTSD and his anti-war son Billy. Yates loses his job. Price deals with her hand and angry Aiken is haunted by killing a civilian.

The opening action scenes contain both the good and the bad of this movie. It does some compelling action. It's got good intensity. Then this ends in one of the most old-fashion melodramatic overwrought-music cry-holding-dying-buddy scene possible. That is the pull-push of this movie. It is sincere in its portrayal of the home front but it is also very on-the-nose. It's got good intentions. Everybody is acting well. It does need to pull back the melodrama.