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 ...
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.
Australian Rating: MA15+ [See Full Rating] War violence and themes, Coarse language
Runtime: 1 hr 53 mins
Genre: Dramas
Australian Theatrical Release:
Aug 7, 2008 Wide
US Box Office: $10,796,776
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
Stop-Loss is a tough film to watch and one that raises issues of concern that travel far beyond the war-torn regions. But whether its message is accurately targeted is for the viewer to decide
It's more a sweaty assemblage of dramatic high-points than a coherent, persuasive story of wounded warriors trying to make it.
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.
...more of an artillery based Abercrombie and Fitch road trip than a concise character study.
Stop-Loss goes in too many directions at once, and most of those directions are predictable.
That Stop-Loss wears its generally good intentions on its camo sleeve doesn't keep it from being consigned to the missed-opportunity file.
This is an OK tale about guys who don't have that much going on in their civilian lives, but it's not the movie it ought to be.
Stop-Loss should have been a thought-provoking drama; instead, the crucial subject of PTSD is lost amidst melodrama and mediocrity.
Much of Stop-Loss' first act feels like the cast of Hee-Haw auditioning for a Best Years of Our Lives remake.
Stop-Loss features cartoonish lessons on disillusionment and irksome actors trying to blue-steel the crap out of each other.
An incredibly frustrating drama that starts off promisingly, featuring a talented ensemble, but devolves into too much repetitive rhetoric and a predictable non-conclusion.
occasionally seems like an MTV/Varsity Blues pop variation of In the Valley of Elah
Peirce (with co-writer Mark Richard) also vacillates between earnestness and superficiality, making Stop-Loss too often feel like eye candy with a message.
Stop-Loss can't quite decide whether to focus on making a powerful statement on a controversial and unfamiliar military policy or on a more predictable drama about the traumatic effect of war on young people's lives.
While its slick battlefield-and-barracks footage is YouTube- and cell phone video-contemporary, its dramatization of events feels well-worn.
Acted with aplomb and occasionally compelling, Stop-Loss nevertheless fails to impress.
Stop-Loss' inability to find any coherent statement to make about what's happening to our soldiers is only a source of greater frustration.
Feverish yet bizarrely apolitical, the movie tries to have it both ways and fumbles its outraged and reconciliatory impulses equally
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