Film review: 'Civil War' pits neighbor against neighbor but doesn't choose sides
Over the years, audiences have witnessed countless cities, especially Washington, D.C., and our national monuments, destroyed by a variety of aliens, monsters, and all manner of computer-generated natural disasters.
But in Alex Garland's latest film, "Civil War," we see an America destroyed by Americans. The first question one might be compelled to ask: Why would anyone make a movie with such a disturbingly plausible concept? Second question: Why would anyone expect people to find such a film entertaining?
The main characters of "Civil War" are a group of journalists who are following the Western Forces of California and Texas as the secessionist armies travel toward Washington, D.C., to overthrow the United States government and assassinate the president (Nick Offerman).
Our platoon is made up of battle-weary photojournalist Lee (Kirsten Dunst), adrenaline junkie reporter Joel (Wagner Moura), veteran New York Times writer Sammy (Stephen McKinley Henderson) and Jessie (Cailee Spaeny), an eager young photographer who shoots on film instead of digital.
Lights, camera, Athens: A major motion picture will be shooting at Athena Studios .
The environment that Lee and company navigate is an America that viewers will recognize, though thankfully not in the shape that "Civil War" depicts. As the journalists travel from New York to D.C., they navigate highways that are either barren or strewn with destroyed automobiles. The cities that are not active combat zones have been reduced to rubble, and civilians are shown living in family camps in sports stadiums.
Not every landscape is bleak. In a moment of on-the-nose social commentary, the group passes through one town that is seemingly untouched by the chaos, where the residents have managed to keep a semblance of life as normal by blissfully ignoring what is going on in the rest of the country.
Because "Civil War" is a two-hour movie and not a Netflix series, we never find out exactly how the nation got to where it is. Rather, the viewer is dropped into the situation as observers, not unlike the journalists on the front lines. Though Garland has addressed social issues through a fantasy lens in past titles like "Ex Machina," "Annihilation" and "Men," the dystopia of "Civil War" represents his clearest message. After all, armored vehicles rolling down bombed-out city streets are images we see in real-life news, just not in our backyard.
Like any ethical journalist, Garland makes the wise decision not to play sides in his film, and no political parties are mentioned. Instead, "Civil War" presents a look at a post-partisan America where things like diplomacy, discussion and compassion are off the table. In this reality, it's kill or be killed, exist at your own peril, and do your best to not end up in the wrong place at the wrong time.
Though there is no specific face to either side of the conflict presented in "Civil War," the film does contain two scenes that present a difference between trained military and random gun-toting maniacs who have used the desperate environment as an excuse to straight up murder people that they don't like. As great works of fiction tend to do, "Civil War" holds a mirror to a very real world, one where neighbor executes neighbor for pulling into the wrong driveway or knocking on the wrong door.
Despite the multitude of flying bullets and anxiety-inducing street combat, "Civil War" is not the oppressively grim and disturbing experience it could've been in less talented hands. Though it certainly paints a frightening picture, the film is ultimately about compassion, human perseverance, and the slippery slope of complacency. Scene by scene, Garland seems to be asking the viewer one consistent question: What kind of person would you be if such a thing really happened?
"Civil War" opens in Athens area theaters on Friday, Apr. 12. Cine has a sneak preview screening Thursday at 5:15 p.m. For tickets, visit athenscine.com.
This article originally appeared on Athens Banner-Herald: Film review: The battle comes home in 'Civil War'
