It starts light. Almost like a joke.
It starts light. Almost like a joke.
Young soldiers, full of swagger, testosterone, and nervous energy, dropped into a foreign neighborhood with gear, guns, and no real plan. You think you know where it's going.
Then it tightens. Hard.
Alex Garland's Warfare isn't a typical war film. It's a mirror. A slow-burn portrait of occupation - show up, seize control, provoke chaos, and leave. It doesn't lecture. It just sits with you. Uncomfortably.
They're foreign soldiers holding civilians in their own home at gunpoint, surrounded by a community trying to push them out. Whether the locals are rescuers or rebels depends on your perspective - and Garland refuses to give you one.
There's no soaring score. No rousing speeches. Just dust, dread, a spectacle of force and the weight of presence. It's not about winning.
It's a loud reflection of the post-9/11 playbook: arrive with guns, destabilize everything, leave behind blood and rubble. Sound familiar?
Young soldiers, full of swagger, testosterone, and nervous energy, dropped into a foreign neighborhood with gear, guns, and no real plan. You think you know where it's going.
Then it tightens. Hard.
Alex Garland's Warfare isn't a typical war film. It's a mirror. A slow-burn portrait of occupation - show up, seize control, provoke chaos, and leave. It doesn't lecture. It just sits with you. Uncomfortably.
They're foreign soldiers holding civilians in their own home at gunpoint, surrounded by a community trying to push them out. Whether the locals are rescuers or rebels depends on your perspective - and Garland refuses to give you one.
There's no soaring score. No rousing speeches. Just dust, dread, a spectacle of force and the weight of presence. It's not about winning.
It's a loud reflection of the post-9/11 playbook: arrive with guns, destabilize everything, leave behind blood and rubble. Sound familiar?
- bronsonwhytcrosss
- Apr 11, 2025