Strong performances from the young cast make a compelling case that the US govt is failing its soldiers, but the film’s a little too much of a blunt instrument.
Stop-Loss (2008)
Tomatometer
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Reviews Counted:138
Fresh:89
Rotten:49
Average Rating:6.3/10
Consensus: Stop-Loss is sincere and complex, and features strong performances, even if it tries to cover too much ground.
Rated: 15 [See Full Rating] for graphic violence and pervasive language.
Runtime: 1 hr 53 mins
Genre: Dramas
Theatrical Release:25-04-2008
Synopsis: Director Kimberly Peirce (BOYS DON'T CRY) tackles another controversial topic with STOP-LOSS, the story of a U.S. soldier forced back into battle. Brandon King (Ryan Phillippe) has just returned to... Director Kimberly Peirce (BOYS DON'T CRY) tackles another controversial topic with STOP-LOSS, the story of a U.S. soldier forced back into battle. Brandon King (Ryan Phillippe) has just returned to Texas after a harrowing final tour in Iraq. He's accompanied by the remaining men from his unit, all of whom are more than a little shell-shocked. Welcomed home as a hero, Brandon is awarded a Purple Heart by a visiting state senator. But the homecoming quickly turns sour, as each of the soldiers struggles to assimilate back into society. Tommy (Joseph Gordon Levitt) can't lay off the booze, and Steve (Channing Tatum) roughs up his fiancée. Brandon is eager to put the war behind him, but that dream quickly fizzles when he learns that he has been "stop-lossed," or ordered back for another, involuntary tour of duty. Stunned by the news, he goes AWOL and forms a plan to get help from the senator who so recently honored him. He hits the road for D.C., all the while trying to cope with PTSD and battle flashbacks. Torn between his fierce patriotism and what he believes to be outright betrayal by the U.S. Army, he doesn't know where to turn or what to do. He is ultimately faced with the harshest of choices: Iraq, or a life in exile. There are now dozens of films that grapple with the war in Iraq, but STOP-LOSS is unique in its attempt to reach out to a younger audience. Produced by MTV, the film features a striking young cast and a thumping hip-hop soundtrack. There are many commendable performances, most notably from Phillippe and Levitt. Despite the occasional melodrama of some of the scenes, Peirce pulls no punches, and really hammers home the tragic exploitation of American troops. [More]
Starring: Ryan Phillippe, Abbie Cornish, Channing Tatum, Joseph Gordon-Levitt
Starring: Ryan Phillippe, Abbie Cornish, Channing Tatum, Joseph Gordon-Levitt, Ciaran Hinds, Timothy Olyphant, Victor Rasuk, Rob Brown
Director: Kimberly Peirce
Director: Kimberly Peirce
Screenwriter: Mark Richard, Kimberly Peirce
Producer: Kimberly Peirce, Mark Roybal, Scott Rudin, Gregory Goodman
Composer: John Powell
Studio: Paramount Pictures
Reviews for Stop-Loss
Distancing Stop-Loss from other Iraq films by highlighting an American military tactic that has been little talked about, Peirce has crafted a credible but hardly outstanding effort that may disappoint those expecting another Boys Don't Cry.
It’s the film equivalent of a weary shrug – capturing the national mood at a moment when we’d all prefer some mood enhancers.
Stop Loss takes some time out from the argument over the validity of the war to ask a question closer to home - whether the emotional battlefield America subjects its young soldiers to is actually worth it.
Kimberly Peirce's long-awaited follow-up to Boys Don't Cry is a thought-provoking, emotionally engaging drama that packs a surprisingly powerful punch.
After five years of news footage and documentaries coming from the war in Iraq, Stop-Loss is as phony as a re-enactment with finger pup pets.
Viewers of any age are bound to be moved by [director Peirce's] primary theme: that there is no easy cure for these damaged young veterans, whether they return to war or fight their demons at home.
Problem is: 'Stop-Loss' isn't really about that legal loophole. Instead, it's about soldiers' post-traumatic stress, a subject covered far more effectively before.
Sharply uneven, Peirce's film is structurally flawed in the first reels, but it improves considerably in the second half, which documents the dramatic effects of a controversial, little known government policy on a cligue of friends.
Adds to the ranks of films on the Iraq war that very few people will volunteer to see, not merely because the topic is difficult but because...it's so terribly uneven.
Clearly, Peirce's motives are pure. She's not using the 'stop-loss' issue as a wedge to make the government or the administration look bad. She's using it to dramatize an injustice and to advocate on behalf of the soldiers.
In some ways, there is a grim, accidental timeliness in the release of Stop-Loss, which focuses on the ordeal of American soldiers in and out of combat.
But whatever you think about the Iraq war and the people who are fighting in it, you'll be shaken up and moved by Stop-Loss.
It's more a sweaty assemblage of dramatic high-points than a coherent, persuasive story of wounded warriors trying to make it.
Stop-Loss misses emotional beats and hammers home its frustration; yet in a week where we've lost our 4,000th soldier, its impatience is a virtue.
Following the harrowing and superbly made opening sequences of hand to hand combat in Iraq, we can feel the frustrations and the anger through the film, and we sympathise. But the film has a confused message ...
Being better than In the Valley of Elah’s lazy view of returning vets as damaged and mentally depraved isn’t good enough.
The film gets pretty heavy handed in the last third and is weighed down by an inadequate performance.
If Gordon-Levitt (who's delivered stellar performances in Mysterious Skin and The Lookout) had been moved up from his supporting role to the lead, the film would improve considerably.
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