Day Zero

I doubt this film will ever serve as anything more than film school proof that a good story idea and a couple star actors alone do not make a film, even if you set it in New York City.

The film largely focuses on the 3 draftees reactions as their report day approaches. While you can appreciate some of the inconsistencies and complexities in character, it's also largely cliché characters and some of the inconsistencies defy all logic, both formal and psychological. The ending looked like, for a moment, it was going to resolve all this and make up for the complete lack of insight the rest of the film provides, but once again fails. The result is a mess that's more annoying than entertaining.

The Draft as a means for supplying the armed forces with manpower ended with the Vietnam War. DAY ZERO is a thought provoking film that raises the question of how today's youth would respond were the Draft reinstated as a result of the ever-growing Iraq War. Writer Robert Malkani and director Bryan Gunnar Cole respond to the question by creating three characters, long time friends, but each with a different response to the forced servitude in a wartime situation. As with any film dealing with controversial subject matter there are ideas presented that will disturb just about everyone no matter their stance on compulsive servitude, and it is that aspect that makes this film work so well in jolting our thinking.

The time is New York, now, and the media has just announced the reinstatement of the Draft to cope with the drained national volunteer army. Three friends receive their draft notices simultaneously: successful lawyer George Rifkin (Chris Klein) whose marriage to a cancer survivor wife Molly (Ginnifer Goodwin) is part of the solid state of life he resists changing; fantasy writer Aaron Feller (Elijah Wood) who is in progress on a novel he must finish while his life is otherwise rather on shaky ground, controlled by his loopy therapist (Ally Sheedy); cab driver James Dixon (Jon Bernthal) who has a past history of being a loner and attempting to control violent behavior. The gamut runs from refusal to even consider the draft (Rifkin) to being nonplussed by the disruption to his psyche (Feller) to gung-ho ready to fight Dixon. The three young men have thirty days to Day Zero and in those thirty days each undergoes profound changes and introspection and self-discovery that very keenly illustrates the effect that such a governmental edict can have on today's youth.

This is ensemble acting that rivals that of any fine film: there are no stars here, only actors portraying emotional changes that are universal in nature. And for a first film by director Cole it succeeds on most levels. In addition to the work of the four main actors there are fine cameos by young Sofia Vassilieva and by Elisabeth Moss. The film is meant to raise questions, challenge our current complacency and our views of the concept or war and military obligation. That it is disturbing is part of the power of the work. Grady Harp

The idea of the movie is not bad: three guys get drafted and we get to have part of their feelings, emotions and fears for the last 30 days before day zero, the day they have to sign in for the army.Those three guys are very different characters, they have nothing in common so we wonder how can they actually be friends.Apart from that, the film is very realistic.It gets also political on the war in Iraq and it shows both conflict parties: those for the war and those against it.It shows us who are the people supporting the war: lower class,propaganda brainwashed, uneducated, ordinary people from the street like cab driver Dixon, who thinks that fighting in Iraq is defending the freedom in America. His friend, lawyer Rifkin sees no point in the war and tries to use his daddy's connections to get "undrafted".The third guy is writer Feller (Wood) who doesn't really have an opinion because his mind is too occupied with the fear of dying in the war.He is weak, mentally and physically. The film is good, good acting, good script.I don't regret seeing it and I'm sure most people wont.It's not a must see, but if you come across it you should give it a chance.Seven stars for being good but not special.

I find myself out of alignment with previous commenters on this one. Let's see: "A perfect study of those who share this fate given by wonderful cast and crew" Perfect? No flaws? Come on.

"A powerful film about friendship and relations" I wish it had been. The script failed to draw us in and make us care about the characters.

"A Powerful and Thought-Provoking Character Study" No it wasn't. It could have been. Each character was a cliché. And worse, instead of letting the viewer make their minds up, the script is busy telling us, in case we missed it.

The above comments were taken from people who gave this movie 10 out of 10. That's a PERFECT score. A flawless movie. Had they rated it an 8 or 9, then you could expect there to be a difference in taste, in expectation.

The acting isn't bad, as much as the script allows it, and the story has a decent premise, but the story relies to much on the audience being American, and the feelings that come with drafts, wars, Duty to country.

In the end, this movie attempt to set a mood results in it being too slow and too shallow. It is presented by formula driven characters. A character study it is not. It leaves huge holes in the characters at the same time as it is spoon feeding us the obvious.

5 out of 10 because the acting is good, the cinematography is good, but it gets dragged down by the script.

It's 30 days before DAY ZERO, when three friends are to be drafted into the army during the raging war in Iraq. They react to the news and somehow come to terms with reality. On this simple (even thin) premise, Brian Cole crafts a well balanced 90 minutes, which manages to cloud a specific or biased point-of-view. Sure, there's anti-war clambering and patriotic posturing. There's plenty of flag waving and flag burning, but this film is not about the draft or serving one's country. As a reviewer who has already been drafted to face a war (in Viet-nam) and had to grapple with decisions that would ultimately shape the remainder of my life, I know this film is about "the inner self"—the draft being the catalyst and the reactions mere symptoms to the rumbling of the human spirit or the lack there of.

The three stars carry the film a long way and beyond. Chris Klein as George Rifkin represents the majority view, that the draft is a life interrupter. One never gets the impression that George is a coward. He just wants to continue his law practice, enjoy his family and wife; and ultimately, his anti-draft stance festers from resentment to anger. Jon Bernthal as James Dixon represents the patriotic view, that "it had to happen sooner or later," and everyone should stand up and fight terrorism. He is a violent and disturbed man, short fused and drives a taxi for a living, quite a contrast from George. He imprints his views on his friends without hesitation, but when he meets a girl, his views are somewhat tempered. Elijah Wood, in his best performance on screen to date (yes, even better than Mr. Baggins), plays Aaron Feller, a naïve, fragile man, who has just published his first novel and is working on the second. He is thrown into a panic by the draft notice. He looks for help in all the right places, and doesn't find it. He then looks in all the wrong places, and does. He manages to face his inner demon and takes the appropriate corrective action.

The three friends interact with great chemistry. While Wood carries the film's main theme and presents it with pathos and comedy, the more political and preachy messages come from Klein and Bernthal. Bernthal's raging approach to life is engaging. He is always there for his friends, but not without cost. He chews up the scenery. Klein, on the other hand, gets the more conventional row to hoe, with everything from draft dodger to conscientious objector. He whines and bleats and tears his hair out (figuratively. Wood loses his, literally). Between Bernthal and Klein, we have Macbeth and King Lear, so it is up to Wood to bring the real interest. He crafts his character from thin air, as his scenes are mostly interspersed vignettes that are visually appealing and pathetically comic. In fact, Wood's sense of comedic timing matches the great stars of cinema, like Chaplin. He takes us from entertaining comic relief to riveting drama as Aaron takes a roller coaster ride from naïve to psychosis in 30 days to Day Zero.

This film has only been screened at the Tribeca Film Festival, where I am sure it will win awards and be picked up by a distributor (if not, the film industry is blind). It demonstrates that in the hands of a thinking director, three strong actors can create storms in tea cups. It also provides the viewing audience with Elijah Wood's best of many great performances on celluloid, and for an actor nearing his 40th film, it is a landmark. A

Edward C. Patterson