Warfare

I want to start off by saying GWOT (global war on terrorism) can be seen in a couple different periods of time and I personally fall into the latter having gone to Afghanistan in 2010. The former however was really a depiction of the Wild West with ROE (rules of engagement) and TTPs (tactics techniques and procedures); folks were learning this new environment that didn't exist. Admittedly I'm a little biased because I spent a number of years supporting operators in this community, but watching this movie really hit me. This movie completely understands what we as service members care about and potentially go through in horrible circumstances. The movie throws a middle finger to narrative and just gives you the story as a handful of men experienced that day with no real bias. As far as accuracy I have to say they really hit the nail on the head! Comms saying 0 and not O(the letter), blood sweeps, and taking a knee one someone if you don't have a tourniquet are so fundamental to us, and it's the little details we appreciate for remembrance. This isn't the modern day saving private ryan but it is the theatrical version of generation kill from HBO. If this was your time and conflict go see it.

Went into this expecting a military movie like those that get rolled out on Netflix periodically, however this is a huge step above. The fact it's a true story too also adds so much to the events shown. The filmmakers go out to put you in the middle of the action. It's a very intense movie that does an amazing job of making you feel the tension in the situation. Performances keep you locked in but the real star of the show is the sound. From the gunfire to explosions you feel every hit. The 'Show of force' they use NEEDS to be heard to be believed. I came out of the movie shaken tbh but really entertained and the time flew by.

There have been anti-bellicose films since the early days of cinema. You can trace a throughline from All Quiet on the Western Front (1930), to Paths of Glory (1957), and Platoon (1986). As the U. S. has extracted itself from decades-long wars in Afghanistan and Iraq, more reflective films have started to emerge on those conflicts. While we've seen some modern anti-bellicose films like The Hurt Locker (2008), the genre has more often leaned toward propagandistic works such as Lone Survivor (2013), 13 Hours: The Secret Soldiers of Benghazi (2016), or 12 Strong (2018). With time and distance, however, a more nuanced perspective is developing-one less interested in glorification or recruitment. We now see stories exploring overlooked aspects, such as the treatment of translators in Guy Ritchie's The Covenant (2023), and more recently, the visceral helplessness felt by soldiers in Warfare (2025).

Warfare attempts to recreate, as faithfully as possible, a harrowing day in 2006 during the Battle of Ramadi, when a platoon of Navy SEALs was pinned down in a building. The platoon includes commander Erik (Will Poulter), head of comms Ray (D'Pharaoh Woon-A-Tai), sniper Elliot (Cosmo Jarvis), and soldiers Sam (Joseph Quinn) and Macdonald (Michael Gandolfini), among others.

Directed by Alex Garland, following his similarly themed Civil War (2024), and co-directed by Ray Mendoza-one of the real soldiers portrayed in the film (played by Woon-A-Tai)-Warfare adopts a stripped-down, technical approach. There is no soundtrack to steer viewers' emotions, no hand-holding through military jargon, and minimal expository dialogue about the characters or their mission. We're dropped into a scenario where the soldiers are tasked with securing a compound as an observation post, and from there, the situation escalates-their primary objective quickly becoming sheer survival.

With Garland's sharp directorial style and Mendoza's commitment to authenticity, Warfare avoids portraying the U. S. military as a glorified, video-game-like experience. The first act centers on the monotony of war-our characters mostly wait, bored but hyper-aware. When combat finally breaks out, Garland keeps the camera locked inside the house, emphasizing a suffocating sense of claustrophobia. Brief drone thermal images occasionally orient the viewer, but for the most part, the firefight is disorienting and tense. The soldiers fire out blindly, unsure if their shots land, spending most of their time hunkered down. A significant portion of the film focuses on the gruesome injuries sustained and the frantic, desperate efforts of fellow platoon members. Ideology fades quickly, replaced by a primal will to survive.

However, Warfare does fall into a familiar trap of many American war films: it centers the suffering of U. S. soldiers while sidelining the pain of local civilians and collaborators. In the film, the platoon occupies the home of two Iraqi families, who are forcibly confined to a single room and largely ignored. Only in a final lingering shot do we see an acknowledgment of their experience, but by then, they feel like shallow afterthoughts rather than co-victims. Similarly, the local translators embedded with the platoon are given short shrift. Though the film briefly shows them being dismissed, berated, and even used as human shields during an evacuation, this disturbing thread is dropped and never revisited. It's a missed opportunity, especially when contrasted with Guy Ritchie's The Covenant, which centers its narrative around the complex relationships between soldiers and translators. The idea that Warfare is "only about the American soldiers" doesn't excuse this neglect-just a few more scenes could have offered a more balanced and humane perspective.

The cast features an ensemble of rising stars-almost like a who's-who list of "Top 10 Actors to Watch." Poulter, Quinn, and Jarvis shine with charisma despite limited character development. Charles Melton also impresses in a small but commanding role. Some of the other actors, however, feel a bit green: Woon-A-Tai seems out of his depth at times, and Gandolfini's range still feels confined to familiar "wise guy" territory. That said, the film's focus on physical endurance and survivalism means deep character work isn't central, and more instinctual, visceral performances prove effective.

Warfare is a compelling anti-bellicose film, grounded in technical precision and immersive tension. Its dedication to realism and its refusal to glamorize war are commendable. While the marginalization of civilians and translators remains a significant flaw, the film succeeds in offering a grim, unflinching look at modern combat-a soldier-centric, rightfully distressing experience.

For someone like me, who has even the faintest and smallest experience of war, watching war films is the scariest thing I can imagine-especially when the story is set in the Middle East.

Warfare felt so real with its visuals, sounds, and atmosphere that it was as if I was right there in the middle of the battlefield.

On the giant cinema screen, every explosion hit me like a punch in the face, and the loud Dolby sound shook my heartbeat with every gunshot and scream.

From the first third of the film to the very end, I sat on my seat with my knees pulled up-frozen, motionless-like I was truly trapped inside those scenes.

When the film ended, it took me a few minutes to pull myself together. It felt like the war was still going on in my head.

Damn every war-seeker-of any kind, for any reason, under any pretext, with any intention.

A masterclass in tension and sound design. A visceral, gut wrenching, unrelenting war film experience.

This film absolutely deserves an Oscar nod for its sound design, my ears are still ringing, but in the best way possible. It's not for the faint of heart. Rarely has the raw horror of war been depicted with such intensity; I haven't felt this shaken since Saving Private Ryan. The theatrical experience is essential, this soundscape demands a massive screen. The gunfire alone rivals Heat in realism and impact.

Those expecting a conventional narrative should adjust their expectations. This isn't a traditional hero's journey, it's an immersive, boots-on-the-ground depiction of a team navigating a chaotic operation where, even when everything is done right, everything can still go catastrophically wrong.

Watching this, my respect for our military deepened tenfold. The courage it takes to step into such situations is beyond comprehension, and the professionalism of the operators is portrayed with remarkable authenticity. This film didn't just entertain, it inspired me to be a better leader, a better friend.

This is the film I wanted Civil War to be, and I wouldn't be surprised if Alex Garland felt the same. It offered a deeper understanding of PTSD and the brotherhood forged in combat. The emotional and psychological toll is palpable, yet never overplayed.

This is not just a film, it's an experience. I'm already planning to see it again in theaters. I'm genuinely curious if my heart rate ever dropped below 130 bpm. As a filmmaker who dreams of tackling a military story one day, I found this both intimidating and inspiring.

So. Well. Done.