American Sniper (2014)

I have long been a fan of Clint Eastwood's directorial work. Coincidentally, I watched "American Sniper" in the same month that I watched "The Good, The Bad, and the Ugly," "Unforgiven," and "Mystic River" and I'm glad I did. I had been dissatisfied with some of his more recent movies and going back to some of his older ones helped remind me of Eastwood's incredible talent to work with material of epic proportions. Though "American Sniper" isn't without flaws, it is definitely Eastwood's best effort since Gran Torino in 2008.

This is the story of Chris Kyle - the deadliest marksman in US Military history accumulating roughly 160 kills. The film depicts his 4 tours in Iraq, his marriage, and his bouts with PTSD. There will always be movies about the Chris Kyles of the world and there will always be debates on whether they were heroes or not. Some were, some weren't. "American Sniper" is an interesting mix of glorifying the kills and actually delving into the mind of the soldier. For the most part, Eastwood smartly succeeds at not overdoing the former scenario. Yes, he paints an ugly picture of war, and yes the violence is hard to stomach at times. But he does a decent job of commending the heroism while also drawing attention to the problems of the heinous acts of violence that led to problems in Kyle's life.

Of course, this brings us all to the realization of what a comfortable bubble we live in. Maybe that's the point of any war movie, who knows. The most moving part of the entire film was the chilling silence that fell over the theater as the credits rolled. No one spoke as we exited the building. I couldn't help but think about all the little things I complain about on a daily basis. Mostly slow internet connections and the fact that my shampoo and conditioner never run out at the same time. You can't watch a movie like this and expect to un-see all the terrible things that happen without our awareness. I'm not even close to pointing fingers, but there is a fine line between defending your country, defending another man, and simply doing things out of hatred. There's no denying the dialogue depicts some foul-languaged hatred alongside the violence.

I can't talk about that without following it up with some well-earned gratitude. I'm glad I live in a country where I am free to complain about my shampoo running out sooner than my conditioner. I can't begin to understand what horrors soldiers face daily. I cringed at several parts and it made me hyperaware of what I take for granted. I know I don't think about my freedom in Murica often enough.

"American Sniper" also teaches us how real PTSD is. I have only had a little experience with this - I've got a buddy who I've seen go through similar experiences and I know it's rough. And very real. There's a lot going on here that deals with Chris Kyle's difficult transitions to home life between tours. It gets worse throughout the film, but it doesn't manifest itself much in anger or nightmares but just in apathy and numbness. It's like whatever Kyle doesn't feel, we feel on his behalf and man, do we want things to work out better for him. He finds a purpose in protecting his team and America. He lacks a similar driving purpose at home. I think it's good for us to be aware of how much these soldiers sacrifice - and Eastwood intelligently let's Kyle's life story develop itself in a natural way.

Early in the movie, 10-year-old Chris's father tells him that there are three types of people: sheep, wolves, and sheepdogs. He told the young Chris that he would fall into the third category - the sheepdog who ensures that predators don't eat the innocent. With that metaphor in mind, we can appreciate this decorated seal's scope view on some compromising and intense situations. I can't really say that Bradley Cooper delivers a breakthrough performance because he had already established himself as an actor we can stand behind and respect. However, there was something even more moving about his portrayal than I had seen before. He doesn't just mimic, he becomes and connects. The other supporting performances (particularly Sienna Miller as his wife) - though good - are mostly just background noise.

It's easy with these biopics to point out all the discrepancies between the on-screen depiction and the real subject. With a little help from Wikipedia everyone is ready to point fingers at the omissions in the plot and Kyle's character. But I'm willing to look past all of that. People and critics sometimes forget that their job is to analyze what "American Sniper" offers as a movie. And as a movie, though a little on-the-fence with what message it wants to send out, it does its job.

Clint Eastwood knows the formula to deliver a typical Oscar contender. It is definitely worthy of praise, but I would have liked to see a little more catharsis and redemption with Chris Kyle's character in the end (I'm not sure I agree with the notion that PTSD can be recovered from in a matter of months and acts of good will) and nothing quite took away the encroaching sadness of this great and terrible movie. 7/10

Dr. Strangelove or: How I Learned To Stop Worrying and Love The Bomb (1964)

I love it when I don’t know too much about a movie.  Of course I’d heard of Dr. Strangelove (what movie-lover hasn’t) but I can honestly say that I was unfamiliar with the premise.  All I knew were images of Peter Sellers looking like a mad scientist who was undoubtably Strangelove, a crazy.  Maybe if I paid more attention to the title I’d gain some sort of intuition that a nuclear war might be involved.

Peter Sellers stars times 3 alongside George C. Scott in this Stanley Kubrick dark-comedy classic.  Psychotic General Ripper (Sterling Hayden) of the US Air Force issues a nuclear attack on Russian soil as part of “Plan R,” an emergency war plan meant to surpass the President’s authority in case of his death in an attack by the Soviets. Meanwhile a team of politicians and President Merkin Muffley, alive and well, (Sellers 1) meet with General Buck Turgidson (Scott) in the war room (no fighting in there) to frantically bring it under control.  As part of “Plan R” already airborne B-52s, however, have no means of being reached without a three digit pass code to recall the bombers.  Oh yeah, and the Rooskies have a super-secret “doomsday machine” that will blow up the whole world if they’re attacked.

Captain Lionel Mandrake (Sellers 2), executive officer to General Ripper, learns through pop-music on the radio that we are not, in fact, at war and attempts to convince Ripper to recall the bombers.  When he doesn’t, Ripper locks Mandrake in his office.  They have good times chatting about fluoridation and purifying bodily fluids and commies and women and how politicians can’t be in charge of war.

Also in the War Room is Dr. Strangelove (Sellers 3), an ex-nazi weapons man in a wheel chair with hand problems – but it’s cool because no one in the room finds it abnormal that he attempts to strangle himself every few minutes.  He addresses the President as Mein Führer several times and seems to know a thing or two about doomsday-ness.

Now THIS is the right attitude to have about the end of the world.  Let’s welcome that apocalypse with yee-haws.  The main thought floating through my head while watching was “what CAN’T Kubrick do?”  He’s no man of consistency.  I’d never guess he’d throw a comedy into his repertoire though, and it’s kind of crazy how good it is.  The script combined with the spontaneity and perfect delivery of the actors is hilarious satire.

First of all, Peter Sellers rocks this show.  The Pink Panther can do it all and some. Three (could have been FOUR) roles for the man and he’s just as hilarious in each part.  Conversing with the President of Russia (“Now, I’m just as sorry as you are!”) or blasting off Coke machines (If you don’t get the President of the United States on that phone you know what’s going to happen to you? You’ll have to answer to the Coca-Cola Company.”) or that iconic last scene as Dr. Strangelove… Sellers is genius.

George C. Scott, however, hardly pales next to him.  He, too, is hilarious as General Buck Turgidson. Absurd, and over the top, he embodies that part.  Watching him and Sellers (as the President that is) go at it is a bundle of laughs. Slim Pickens as ‘King’ Kong (would you get a handle of these names?) is also a highlight as the Texan Major in one of the B-52s, and though Sellers would have been good in this role, Pickens is awesome.  ”Two pairs a nylon stockin’s. Two pair a prophylactics. Shoot, a fella could have a good time on this in Vegas.”

It’s a comedy in its own way, but it isn’t comedic.  It’s impeccably relevant with the Cold War fear.  It’s a dark subject, but it makes us laugh at that fear of all things.  It does what political satire does best.  It’s all about laughing at the people who don’t know that there is something funny about them.  It’s subtle, but outrageous.  I love that it can get us ROFLing and be a piece of art at the same time.  It’s got Kubrick’s touch in the camerawork and film-noir elements.

This accompanies 2001 as some of the best freaking amazingness that ever came out of Stanley Kubrick. Though I love My Fair Lady I do wonder at which is better suited for the Best Picture title… One of the greatest WTF endings in the business, “Mein Führer, I can WALK!” and this classic will always be just that, a classic.  9/10