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.