Warfare is more an excellent horror movie than a war film

Calling doesn’t feel exactly Fight A war movie. At least not in the traditional sense. Combat films usually have ARCs and scope. They look for meaning in violence. FightThe goals are more straight. According to the co -directors Alex Garland (Civil WarFor, for, for,. AnnihilationFor, for, for,. Former Macina) And the former Navy Maher Ray Mendoza, the film’s goal was to keep the audience in the shoes of his soldiers, and to interact with the real experience of the most modern war. The best symbol that the pair succeeded in their mission Fight Like a regular combat movie, a horror movie feels more.

Fight Is based on Mandoza’s real experiences in Iraq While in The war of Ramadi – In particular, the only mission where a platoon of naval seals was to provide over watch from the Iraqi house. Come on, the first few minutes of the film, we look at the process of the procedure when the squad violated the house, and took it from two Iraqi families living there. Then the horrific part of the mission begins, when a team member looks at the market across the road, and the rest just sit and wait for something wrong.

This, eventually, when the presence of the seal draws the attention of the rebel fighters, who ambush the house, then besiege it with it, and trap the squad from the inside. From there, the film becomes a life or death battle for survival, as the squad tries to escape and save the team’s wounded members.

But to communicate effectively, the audience needs to feel the same tension and fear that the soldiers may have felt in real life. To do this, Garland and Mandoza cleverly refer to film genre mechanics that improve these emotions: horror. Garland’s Director Career has always been in Harler’s circle, with 2022 confused provocation Male His most effort in this genre is the worst film and the worst film. Meanwhile, this is the first out of the director, Mandoza, but he mostly works as a advisor in other combat films in the past. But both directors here dive here in a terrible genre.

Fight Instead of exploding wires on the sound track, the gun is full of fear of jumps due to bullets and blasts. The movie contains similar expectations that a slasher film has been made as the main characters may enter the seemingly empty part of the jungle. The camera is located in such a potentially threatening place – in this case, in the streets and streets instead of a dark jungle – a constant risk of sudden attacks in which the tension is almost unbearable. Meanwhile, the point we get is always carefully determined to the soldiers we follow, in which the risk seems to revolve around every corner, and threaten the sounds coming from each direction.

As smart is to use this cinema language, however, it is easy to imagine how it can slip into an unfortunate, ugly implication. Unless Fight Its stress and horror talk like a monster movie, what does it say about people who are fighting seals? Thankfully, Mandoza and Garland refrain from this comparison in some different ways. For one thing, there is never any doubt about the film that both the house and the country should be cast as an invasive force. The film often returns to the Iraqi families who live in a homeless home, and fear the firing of the cells ‘generally detachment’ and both US forces.

Moreover, the film permanently illustrates the strange foolishness of the dispute. In fact, the entire film is a great metaphor for invading Iraq. This is a difficult, dangerous, expensive profession that mass Difficult, dangerous and expensive retreat. This is a strong stand, especially for someone who fought in the dispute, but it also allows Garland and Mandoza to focus on the horrors of seals experiences, while the film is liked by films in the overall non -humanity. American sniper.

Just more than cinema tricks, however, what really crosses Fight Its focus is on the body in a terrible area. From zombie films to psychological horror, all the horror is naturally connected to the physical creatures of the characters. Sometimes this means that they see them hacking in pieces by Jason Wurhez type, get to the devil, or go through more literal change in the physical horror film. But it doesn’t matter where the horror begins, it always ends with the body.

Fight It is not different. Garland and Mandoza choose to use the war on terror as their dynamic supernatural force, but in this film, they are focused on the physical effects of this force as can be like another horror film. Before and during the conflict, more clearly, Garland and Mendoza are obsessed with the bodies of our characters and the physical harm of the war on terror.

In one scenario, at the beginning of the film, we see that a soldier provides Intel through Overwatch, and suffers from a pillow stack, a sniper stars the circle and reports the small movements of people in the market. This is a surprisingly terrifying scene, which is more cautious and effective than any horror film so far this year. But it is like a side effect that the film is really trying to show us: how difficult it is daily soldering. In this position looks like hours, the soldier eventually asks someone else to take power so that he can work with his legs. Meanwhile, every person around him, batsmen, wearing sun, lack of water and starts to get tired. And this is before the same shot.

When the fighter begins, though, it all begins to form the most familiar horror movie. The injured characters slowed down the group and needed permanent care, and they were commanded by trapping the squad inside the house. And once again, the movie banners borrowed from the horror, which gives us a setup that is completely familiar. Stress increases and starts to suffer from anger. Some soldiers lose their cool and panic, while others are completely closed. If you remove all guns and air support (as the movie finally does), then this is a classic horror movie setup: some frightened adolescents, trapped in a place that they should never have entered.

In wounds themselves, Mandoza and Garland double their bodies and their physical loss on the physical loss of war. Whether by bullets or by blasts, in wounds Fight Can fight any horror movie. Makeups and effects look faster to the stomach, and do the real risk of the seal situation and a good job of selling the real physical damage of the war.

But Mandoza and Garland do not restrict the physical indicators to men who have taken the hit or lost organs. Instead, they played the height of the blasts in our ears for the whole minute, and show us that they listened to their friends and squad mats screaming on the ground. There is even a character that goes through a kind of panic attack, which is surprisingly able to understand a wonderful performance of Will Poulter and barely, but surprisingly rotate, the camera shaking, when we look closely at the camera.

What is separated Fight The other horror films are somewhat that most of these moments are immediately shocking and terrifying fears. Play. But the target of Garland and Mandoza is to move us into this world, to provide us with some close versions of these soldiers’ real experiences. So they cleverly force us to sit with them, which causes the noise and bleeding and lets us wash. The ears of the characters rings, screaming that never stops in the background and does not end, as soon as every character sweats, the hammer of firing out of the walls of the house-all of them are always found in the therm of the nerves and the nerves.

Garland and Mendoza’s fighter simulakram always lived in the boundaries around how it could bring us closer to the real war. Since the film makes itself clear, there is no experience in the world like such a fight. But instead of combat films, the tools of horror films are bent intelligently, with the co -directors making the most strained and terrifying films ever, with the most strained cinema battle ever.

Fight Now in the theater.