Alex Garland, known for his haunting, futuristic storytelling in “Ex Machina” and “Annihilation,” is an undoubtedly ambitious filmmaker. While his strange cinematic eye can sometimes feel slightly inaccessible, he consistently provides something visually or narratively rich beneath the surface. His latest film, “Civil War,” produced in collaboration with indie powerhouse A24, was near the top of my most anticipated films for early 2024.
“Civil War” might be conceptually intriguing, but the end result is as shallow as a kiddie pool. Though visibly well-crafted and occasionally exhilarating, Garland’s vision is wasted potential.
The story follows a group of war journalists in their daring quest to survive and advance to Washington, D.C., striving to capture the truth and interview the President amid a devastating civil war. Kirsten Dunst plays notorious war photographer Lee Smith, accompanied by her colleague, Joel (Wagner Moura), mentor, Sammy (Stephen McKinley Henderson) and mentee, Jessie (Cailee Spaeny).
Considering America’s contemporary political division, a film about the potential for civil war seems like a recipe for a relevant, impactful film. Unfortunately, Garland plays it mind-numbingly safe. Sure, the imagery is intense, but the film paints the characters as so politically neutral and morally bland that the stakes feel null. The audience isn’t dumb; we know war is horrific. By opting to withhold why the conflict began in the first place, the film reads as entirely apolitical. “Civil War” clearly wants to say something interesting, and it teeters on an insightful take, but never quite garners the courage to do so.
For the most part, the characters and dialogue are aggressively dull. Though she’s indeed a talented actress, Dunst’s performance didn’t work for me. She’s understandably stoic and hardened from her experiences, but her monotone delivery gets boring after a while. However, her dynamic with Jessie pumps the narrative with some refreshing emotion, with Spaeny’s performance serving as the film’s lifeblood.
Moura’s character is largely forgettable. Henderson is a charming presence but doesn’t get enough time to shine. Though Jesse Plemons was heavily featured in the film’s marketing, he has less than ten minutes of screen time, helming the most stressful and vitalizing scene “Civil War” has to offer.
It might not showcase the complete package, but the film has its fair share of riveting, well-directed sequences, primarily in the last act. The action is frantic and unpredictable, closely following the characters as they snap photos and take cover. Garland utilizes a clever gimmick, cutting to a still photograph with each on-screen click of the camera. It works as a mark of Plemons’s progression and a means to emphasize the stakes.
The visual direction is solid throughout, capturing sweeping, war-torn landscapes and the quiet between the chaos. Cinematographer Rob Hardy’s somber color palette matches the gloomy, depressing tone. The scene that bridges the first and second acts is soothingly gorgeous, meshing shots of luminous fire and melancholic music. From the top to the bottom, Garland’s technical prowess is on full display.
“Civil War” has its moments, but flashy filmmaking and a compelling premise can’t make up for its egregiously hollow themes and lifeless narrative.
