[font=Garamond][size=3]"Stop-Loss" has its weaknesses, but it's still the best American film of 2008 so far. Writer/director [b]Kimberly Peirce[/b], who exploded onto the cinematic scene in 1999 with "Boys Don't Cry" (bringing then-unknown actors Hilary… More
[font=Garamond][size=3]"Stop-Loss" has its weaknesses, but it's still the best American film of 2008 so far. Writer/director [b]Kimberly Peirce[/b], who exploded onto the cinematic scene in 1999 with "Boys Don't Cry" (bringing then-unknown actors Hilary Swank and Peter Sarsgaard with her), waited a very long time to do a second film. Thus "Stop-Loss" was arguably the most highly anticipated film of the winter.[/size][/font]
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[font=Garamond][size=3]I do have to say that "Stop-Loss" is inferior to "Boys Don't Cry." But that's not saying much, because almost every film is inferior to "Boys Don't Cry." Peirce can't be expected to bring a masterpiece or even a near-masterpiece to the screen every time she picks up a camera. But it is fair to ask her to produce a good film every time, and she more than meets that objective here. Despite being a bit shrill and one-sided at times, "Stop-Loss" is moving, heartfelt and important.[/size][/font]
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[font=Garamond][size=3]Of the four lead actors ([b]Ryan Phillippe[/b],[b] Channing Tatum[/b],[b] Abbie Cornish[/b],and [b]Joseph Gordon-Levitt[/b]), I'd say Cornish is the best actor. I cannot wait to see how her career develops. I've long felt that Phillippe was a competent but second-rate actor, and this film does nothing to change my view. He just does not seem to know how to convey a rich inner life. I have to suspect that this is because he doesn't have much of an inner life of his own.[/size][/font]
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[font=Garamond][size=3]The jury's out on Tatum and Gordon-Levitt. They're rather one-dimensional here, but in the hands of a great director with whom they're very much in sync perhaps they could do great things. I found Gordon-Levitt's work in last year's "The Lookout" (a film that [i]far [/i]too few people saw) a lot deeper than his performance here. [/size][/font]
[font=Garamond][size=3]Tatum first came to my attention in Dito Montiel's extraordinary and unjustly overlooked "Guide to Recognizing One's Saints." But it wasn't so much Tatum's acting in that film that caught my eye as his profound physical presence. He is huge, very muscular and stunningly beautiful. He has the perfect body to portray a Marine. But of course he's not being paid to be a model, so the body and face are not enough. He's got to bring with him that magical capacity to cross his DNA with that of a fictional character, and so far he hasn't shown much talent for that. He's no Heath Ledger, at least not yet.[/size][/font]
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[font=Garamond][size=3]Cornish doesn't get much dialogue here, but she invests every glance she makes with a texture and depth that made me yearn to hear her character say more. I wanted to know more about what that young woman was feeling. I think the movie would have been far more interesting if it had been written from her perspective. How must it feel to have your three closest friends all come back from Iraq at the same time like mental patients? How does one cope with this when one has a sixth-grade education? That's what I wanted to learn from this film.[/size][/font]
[font=Garamond][size=3]Instead we get one scene after another of the boys demonstrating weird behavior. You never really get inside their experiences. A little bit, but not much. The use of sound is pretty effective to convey the after-shocks of an emotional trauma that was accompanied by loud noises (gunfire and explosions).[/size][/font]
[font=Garamond][size=3]You also do get a feeling for how helpless working-class soldiers and sailors feel when caught in the jaws of a politico-military apparatus that they barely understand and that exploits them mercilessly. The title of the film comes from a procedure being used a lot today, whereby the President is allowed to break a soldier's contract and send him or her back to Iraq immediately after their tour is over. "You've been stop-lossed," the young bureaucrat tells Ryan Phillippe's character, ordering him to go back to Iraq a few days after he finally comes home.[/size][/font]
[font=Garamond][size=3]This introduces what should have been an absolutely excruciating inner conflict in Phillippe's character regarding how to respond, trying to balance feelings of duty to both self and the military, as well as struggles with his own inner machismo. I imagine that going AWOL is deeply unsettling to a working-class soldier's sense of masculinity. Instead of a deep exploration of this inner conflict, we get a highly external view of it. We watch the character struggle to find places to hide and strive to get people to help him, but we never penetrate his inner sanctum.[/size][/font]
[font=Garamond][size=3]Still it's a heart-wrenching experience watching him and his friends try to deal with their intractable situations and it's a tremendous experience to watch working-class soldiers honored by this film, and it's very much worth seeing. I just wish it had been even more.[/size][/font]