Green Zone is a story we’ve already heard shot in a manner we’ve already seen and starring Matt Damon in a role he’s already played. Remember those WMDs that were never found in Iraq and later exposed to be the invention of a dubious and poorly-vetted informant? Remember the misguided and hideously botched attempt at establishing democracy after the fall of Saddam and the violent prolonged insurgency that ensued? If you’ve been away from the television for the past hour and somehow managed to forget any of these details Green Zone is here to remind you.
Damon plays Chief Warrant Officer Roy Miller an Army weapons inspector whose frustration over repeatedly coming up empty in his search for Iraqi WMDs leads him on a quest to track down and expose the people responsible for leading him (and us) down that infamously bogus path. Though his hand-to-hand skills are a notch below Jason Bourne’s Miller’s single-mindedness moral certainty and permanent expression of square-jawed defiance — always threatening another “How do you like them apples?” rebuke — in the face of an insidious multi-level government conspiracy are essentially equivalent to those of Damon’s Bourne trilogy soulmate.
And like Bourne his most dangerous adversary isn’t found on the battlefront but rather within the government he once served so proudly. As Miller delves ever deeper into the Case of the Faulty WMD Intelligence Clark Poundstone (Greg Kinnear) the duplicitous arrogant Defense Department bureaucrat in charge of U.S. operations in Iraq summarily relieves him of his post. (Hint: the better dressed a Green Zone character is the more sinister his ambitions.) But Miller remains undeterred and he goes rogue to locate the CIA informant “Magellan ” a formerly high-ranking Iraqi official whose supposed confirmation of Saddam’s nuclear ambitions served as the basis for U.S. invasion.
We know how the story ends. Green Zone’s pervasive overarching sense of deja vu is accentuated by director — and veteran Bourne helmer — Paul Greengrass who employs the trademark hand-held super-shakycam style which was so fresh and inventive in 2004 but now feels stale and predictable. (Admittedly my aversion to Greengrass’ approach was no doubt heightened by a previous night’s viewing of Roman Polanski’s excellent The Ghost Writer a political thriller as subtle and precise and finely tuned as Green Zone is ham-fisted and haphazard — and which also uses the phantom WMD controversy to far greater narrative effect.)
Green Zone culminates in essentially a violent footrace between Miller and the Army Special Forces as they scour a heavily-armed insurgent stronghold to find Magellan with Miller hoping to secure his potentially damning testimony before the Army can silence him for good. The climactic sequence for all I could tell was either shot in Damon’s backyard culled from Bourne trilogy deleted scenes or assembled from scattered YouTube clips. This punishingly chaotic often incoherent and ultimately exhausting approach to storytelling isn’t cinema verite; it’s dementia pugilistica.
On the eve of his first novel's publication San Francisco writer Amir (Khalid Abdalla) is called back to the Middle East for a chance to make childhood wrongs right. An extended flashback set in late-'70s Kabul Afghanistan introduces young Amir (Zekeria Ebrahimi) the bookish son of a forceful respected businessman (Homayoun Ershadi) who despairs over his son's tendency to let his loyal friend/servant Hassan (Ahmad Khan Mahmidzada) fight his battles for him. On the fateful day of the citywide kite-fighting tournament Amir's inability to stand up to bullies has heartbreaking consequences for both him and Hassan. Soon after Amir and his father flee the invading communists eventually ending up in California. Time passes but Amir's guilt doesn't fade--so when a long-lost family friend offers him the chance to redeem himself he returns to the city of his birth to face many difficult truths. One of the best things The Kite Runner has going for it is its cast of virtual unknowns; since none of them are familiar faces to American audiences it's much easier to become wholly absorbed in their story. Abdalla is earnest and solemn as grown-up Amir. Both haunted by and determined to forget about his terrible betrayal he's often hesitant and unsure of himself (except when he meets the woman who will become his wife and courts her in a series of charming scenes). More charismatic is Ershadi who imbues Amir's father with the perfect mix of honor ferocity and sentiment. And top honors go to the boys who play young Amir and Hassan. Making their screen debut (along with co-star Elham Ehsas who's coldly menacing as bully Assef) Ebrahimi and Mahmidzada are natural genuine performers who make their characters' complicated friendship both believable and heart-wrenching. With a resume that includes the tragic (Monster's Ball) the sentimental (Finding Neverland) and the surreal (Stranger Than Fiction) it's clear that Marc Forster isn't wedded to any particular style or genre. Which is fitting since The Kite Runner is so many things at once: a coming-of-age story a sweet romance a gripping war drama. Forster does a good job of balancing the story's many needs staying faithful to Khaled Hosseini's novel while also streamlining it to keep things moving. As in the book the movie's glimpses of a (relatively) liberal prosperous '70s Afghanistan are particularly compelling; audiences who only think of the country in the context of the ultra-conservative Taliban rule (and subsequent U.S. occupation) will be entranced. Later when Amir returns home to find fear despair and dusty emptiness it's impossible not to mourn right along with him.
Set up very much like a documentary United 93 puts you right there onboard United Airlines Flight 93 the fourth hijacked plane on Sept. 11 2001 which crashed in a Pennsylvania field just short of its intended target. The first half of the film cuts between the mundane routine of boarding the ill-fated flight to the horrifying events unfolding at the World Trade Center played out in airport control towers as well as the FAA's command center in Herndon Va. and the military's center at the Northeast Air Defense Sector in upstate New York. Everyone is scrambling trying to figure out what’s happening while an air of absolute powerlessness hovers over them. Then for the last unbelievably heart-wrenching 30 minutes or so we are back on the plane. We watch as the hijackers wait and wait to make a move and then once they do watch as the passengers realize the gravity of the situation after talking with their loved ones on the ground. The heroism the defiance is palpable. "They were the first people to inhabit the post-9/11 world " Greengrass says in the press notes. And to keep things as accurate as possible Greengrass reportedly interviewed more than 100 family members and friends of those who perished in order to get not only their blessings but an inkling of what might have transpired on the plane. He also gathered facts from the 9/11 Commission Report. He hired flight attendants and commercial airline pilots to play those roles; hired several civilian and military controllers on duty on Sept. 11 including the FAA's Ben Sliney who plays himself; and finally rehearsed and shot his actors in an old Boeing 757 at England's Pinewood Studios. You’ll recognize some faces character actors who’ve been in countless films and TV shows. But the key is to keep United 93 rooted in reality--and to do that you can’t have an A-list star mussing it up. Greengrass is not afraid of making hard-hitting films such as 2002's Bloody Sunday a dramatization of the Irish civil rights protest march and subsequent massacre by British troops on January 30 1972. With United 93 he has once again documented one of modern history’s most defining moments. Of course the controversy surrounding United 93--whether or not it should have even been made--is all understandable and justifiable. Sept. 11 is still indeed a raw nerve. How can it not be? We are living in a completely changed world because of it and no amount of time can ever really alter that. But you can't fault Greengrass for feeling compelled to tell this story and can only appreciate him for doing his homework thoroughly and giving it to us straight from the heart. Sort of a collective heart I should say since it really speaks to humanity and the ways we are capable of such great courage in the face of such insurmountable odds. Obviously we will never know exactly what happened on the flight but at least we know something monumental took place. Now let’s see how Oliver Stone and Nicolas Cage handle 9/11 in the upcoming World Trade Center.