Hollywood's Best Iraq Movie: Generation Kill

Andrew Osborne — Mon, 18 Aug 2008 20:00:00 GMT

Lions For Lambs, Robert Redford’s think piece about recent U.S. foreign policy, sounded like a pretentious, humorless slog. Rendition: ditto. No End In Sight and about a zillion other well-reviewed documentaries about the current Middle East mess popped up at my local art house for about a week, only to disappear before I got out to see them (though, to be honest, I probably never tried very hard). In The Valley of Elah is # 71 in my Netflix queue, and United 93 haunted my TiVo for months before I finally admitted that waiting 'til I was in the right mood to watch it probably wasn’t something that was likely to happen for years.

It’s not that I want to keep myself ignorant about the truths and half-truths of the War On Terror. It’s not that I can’t handle dramatic subject matter. And it’s not that I don’t support the troops. But, like many Americans already saturated with information about the infuriating incompetence and arrogance of the Bush Administration’s foreign policy misadventures since 9/11, the past seven years have been such a demoralizing downer that spending my free time deliberately subjecting myself to fresh, Hollywood-inspired fits of impotent rage seems like the leisure time equivalent of driving around in rush hour traffic for kicks. And yet, somehow, after numerous box office failures, Hollywood has finally managed to get the War on Terror right...on the small screen, at least, with HBO’s seven-part adaptation of Evan Wright’s book Generation Kill, based on his observations as a Rolling Stone reporter embedded with a Marine battalion during the early days of the current Iraq war.

Are you watching this show? If not, imagine the second half of Full Metal Jacket with more characters, desert locations and hip-hop and you’ll have the basic idea. And yes, I just equated a TV show to a Stanley Kubrick classic, a comparison only possible because, like Jacket, Generation Kill is the product of uncompromising, honest-to-God pop culture genius in the two-headed form of David Simon and Ed Burns (NOT the handsome one from Saving Private Ryan), creators of the justly praised, unjustly underseen and unrewarded HBO masterpiece The Wire.

Like their previous collaboration, which nailed the details of the misbegotten War on Drugs so accurately that cops and drug dealers were among the show’s biggest fans, Simon and Burns have said their main goal with Kill was to depict Marine life during wartime in a way actual Marines would recognize without calling bullshit...and by all accounts they’ve succeeded. Their obsession with verisimilitude over political axe-grinding or boot-in-the-ass patriotism is one of the reasons Generation Kill bears comparison to Full Metal Jacket, Platoon and other grunts-eye-view dramatizations of the day-to-day boredom, frustration, terror, absurdity and pride of military life.

Alternately funny, exciting, terrifying and infuriating, Generation Kill honors the skill, bravery and professionalism of America’s fighting force while also depicting the forces, large and small, that frequently cause it to malfunction so badly.

Ken Russell’s Hospital Bed Film Festival

Scott Von Doviak — Tue, 18 Mar 2008 20:00:00 GMT

While Googling Ken Russell today (I had my reasons), I learned that the director of such cinematic oddities as Lisztomania and The Lair of the White Worm is keeping busy writing a weekly column for The Times of London. It turns out that Mr. Russell has much in common with your pals at the Screengrab; for one thing, he likes to make lists. And as you might expect, these lists often contain some eccentric and unexpected choices. For example, in his column on his top ten favorite movie characters, he includes the “glamorous, vulnerable and ‘totally cutting-edge’ duo Romy and Michele, played by Mira Sorvino and Lisa Kudrow, those inseparable flatmates bound for their high-school reunion with exaggerated resumés and loveable optimism. No, I haven’t miscounted. It’s a tribute to their ability to complement each other’s performance that their double act in Romy and Michele’s High School Reunion (1997) makes them unforgettably one.”

In his latest column, Russell reports: “I have just returned from that hospice of fun, the hospital, with a new knee - and this time I went in well-prepared with DVDs.” What strange and wondrous visions did the Altered States director choose for his convalescence? Well, Groundhog Day for starters, the title of which Russell explains to his British audience as “a peculiarly American festival, in which legend has it that if a groundhog (a cross between a giant squirrel and a skunk) catches sight of its own shadow on February 2, then six weeks of winter will follow - and they always do and it always does.” This selection makes sense when Russell explains it: “And isn't every day a Groundhog Day in hospital?”

Russell’s other choices range from Cocteau’s Orphee to Evan Almighty, but the most perverse just might be Lars von Trier’s The Kingdom, about “a Danish hospital built on tainted ground, where the ghosts mingle with bewildered patients and eccentric doctors, one of whom is so enthusiastic about his work that he performs a liver transplant on himself.” This is a little like picking United 93 as your in-flight movie…and we wouldn’t put that past Russell, either.

The Screengrab : united 93

Hollywood's Best Iraq Movie: Generation Kill

Ken Russell’s Hospital Bed Film Festival