Leave No Trace

A valiant soldier unable to adjust to civilian life.

Versatile and self-sufficient, he (Ben Foster as Will) makes a rustic home for his small family in a National Park.

His daughter (Thomasin McKenzie as Tom) is helpful and reliable and enjoys the alternative lifestyle her and her father are living.

But since their dwelling is technically illegal, after they're eventually discovered they have to abruptly adapt and make peace with the outside world, fortunately continuing to live together as one.

They're treated quite well, even provided with a home in the countryside plus ample work and schooling.

But the adjustment is still too much for Tom's father, and the sleeping and waking nightmares continue to destructively haunt him, and even though Tom likes living with others, one day they suddenly pack everything up and head back to the isolated wild.

A psychological tragedy.

Brought about by a lack of care.

Debra Granik's Leave No Trace presents a loving family striving to independently get by.

Their circumstances would be less extreme had more time and funding been available to assist Will after he returned home.

I find it's the people who promote and agitate wars who should be held to account after they're over, not the soldiers who fight them, many of whom likely believe the lies war mongering politicians tell them, and therefore shouldn't be condescendingly criticized in public themselves.

Unless they treated local populations savagely.

As many other people have written, stated, theorized, noted, the people who start the wars and sell the weapons to keep them going don't fight in them themselves, and take home profits that make Shangri-La look destitute.

Even if their own country's public debt skyrockets meanwhile (since their wealth is accumulated privately it's of no concern to them).

And they ask poor people to fight in their wars and those brave self-sacrificing people do fight in their wars, but after the war is finished and they've suffered extreme trauma that nothing can prepare anyone for, they're left to fend for themselves with a prescription for pills and the odd hour long chat, while the war mongers bank multi-millions, a scant fraction of which they spend helping those who earned them their profits recover.

Fighting in a war isn't a typical job, and those that do after mad fools start them deserve adequate care and compensation upon returning home.

No matter how long it takes.

A retreat in the countryside with no work and ample comfort for years on end perhaps.

Will walking into the forest on his own after leaving his daughter behind in a welcoming community should be a wake-up call for the civilian public service tasked with helping men and women like him rediscover peace of mind.

Or, more suitably, for politicians tasked with supplying such organizations with the necessary funds to do so, enormous amounts of public money spent on starting and fighting ludicrous wars, not enough spent helping honest veterans become contributing citizens after they've made unimaginable sacrifices.

Or, even more suitably, just ending gun violence permanently.

By making it much much much much much much much much harder to access a gun.

As Toronto's mayor John Tory suggested recently.

Or start wars.

A Middle-Eastern EU comes to mind.

That could work.

American Sniper

Clint Eastwood's American Sniper is about soldiers.

It's not about politics or asking questions, it's about the people who risked their lives fighting for a cause they believed in, incendiary polemics aside, they were on the ground, fighting an enemy intent on killing them, living through events that would haunt the survivors for the rest of their lives, experiential extracurricular extents, forging bonds through action, teams, through combat.

It's focused on one sniper in particular, Navy SEAL Chris Kyle (Bradley Cooper), with a gift for precision, an eye for detail.

He becomes a legend.

A part of a team, embracing his role as protector, he saves the lives of his fellow recruits time and time again, through vigilance and dedication, making decisions no one should have to make, accepting the consequences, psychologically covering up the outcomes.

Civilian life becomes difficult.

He leaves unfinished business in Iraq, a nemesis at large, who continues to hunt his compatriots, this unnerves him as he tries to live with his family, überconscious conscience, the fall out of his exceptional track record.

Which leads to an exciting Young Guns sequence.

A compelling cinematic interpretation of levelheaded battlegrounded hysteria.

Direct, straightforward, and to the point, while mixing in enough trauma to unsettlingly exfoliate, American Sniper brings together eclectic teams, unified through bitter shattering circumstances.

What actually took place is fictionalized to the point where it makes a strong war film, however, this aspect of its creation makes what actually took place seem fictional, which takes away from its realistic impacts.

But it still salutes the life of a great Navy SEAL who went beyond the call of duty and risked everything to do what he believed was right, individuality within the collective, cohesively functioning as one.

Made the most of the worst possible situation.

Persevered.

All the Wrong Reasons

Solid beginnings for All the Wrong Reasons.

Chummy quotidian banter, an elastic sense of low-budget self-aware elusion, characters who seem relatable but have enough cinematic distance built-in to problematize their realistic preoccupations, polish, tragedy, helplessness, grit.

Facial expressions provoke chuckles.

Background details add flavour.

Surveyed departmental legacies.

Evacuated evasive everyday elevations.

It doesn't hold together well as things become more serious however.

It's not that I didn't like the development of Kate (Karine Vanasse) and Simon's (Kevin Zegers) affections.

They're strong characters and their interactions curve and merge.

But as the intensity of the wry melodrama increases, and morality becomes a potent factor, the comedy disintegrates, and austerity commands.

I liked some of the scenes and the resolutions, but the general air of upright tension in the second half suffered from a lack of contrapuntal displacement.

Unsuccessful juxtaposition.

Solid beginnings though, solid beginnings.