DIRECTED BY: William Friedkin WRITTEN BY: James Webb and Stephen Gaghan CAST: Samuel L. Jackson, Ben Kingsley, Tommy Lee Jones, Guy Pearce
MPAA: Rated R for scenes of war violence, and for language. Runtime: USA:128
REVIEWED BY: Alex Ioshpe
RATING: 4/10
As we see the terrible events that unfold before our eyes in the Middle East at the moment, Hollywood doesn't loose the oppertunity to get involved, by telling stories and expressing opinions.
This film centers on a relationship forged throughout the adult lifetimes of two Marine colonels, Hays Hodges (Tommy Lee Jones) and Terry Childers (Samuel L. Jackson). They fought side by side in Vietnam, where Childers saved Hodges' life by shooting an unarmed POW. That's against the rules of war but understandable, in this story anyway, under the specific circumstances. Certainly Hodges is not complaining. Years pass. Hodges, whose wounds make him unfit for action, gets a law degree and becomes a Marine lawyer. Childers, is now a respected and much-decorated hero that has served his country with his life and sould. Because of his excellent record, Childers is sent to Yemen to rescue the American ambassador (Ben Kingsley), cowering in the embassy under assault from violent demonstrators and snipers blasting from rooftops. Childers does what he has to do: evacuate the family and protect the men under his command. After three Marines die and the colonel thinks he sees ground fire, he orders his troops to shoot into the firing crowd. More than 80 Yemeni men, women, and children are mowed down. Childers is immediately accused of ordering his men to fire on a crowd and murder of unarmed civilians. He persuades his old friend Hodges to represent him in the courtroom drama that occupies the second half of the film. Did Childers violate authorized U.S. military rules of engagement? Or are there simply no rules in war?
The answers to these stereotypical questions are obvious, but the inconsistent plot immediately raises all sorts of other questions. The murder of 83 "innocent civilians" has to result into something greater than a simple trial in the U.S. Where is the accusations from the Arab leaders? Where is the U.N.? The film ends without even telling the most interesting story: what happens on the international arena?
This film (in a way akin to films such as "A Few Good Men") has already been accused of breaking the rules of morality and ethics and even of racism. These accusations are pretty heavy, but also unfair. What director William Friedklin truly broke was the rules of decent filmmaking. One of the earliest apparent problems with 'Rules of Engagement' is its lack of credibility. The entire operation in Yemen may remind us about what happens in the Middle East right now, but is overdone, contrived and unrealistic - as if a chain of events had to happen in a particular manner in order for the plot to proceed. A lot of it is so cheesy that no one could possibly accept it as reality. That is precisely why it's not offensive. It is completely unobjective. Many stories are started and never finished. Many questions are asked, but never answered. A lot of parallels are referring to nothing. It seems that neither the director, producers or the screenwriter can make up their minds about the contents of their film. Is it about Arab mentality? America's foreign policies? America's role in the world? Corruption in the higher circles? It goes on and on. It consists of countless stories, but not a definable plot. It tries to be everything for everyone and ends up being nothing for no one.
I think that it is ironic, because director William Friedkin's probably most acclaimed film was "The Exorcist" which had a silly story, but became a rather effective film. In this case you have a strong story with many possibilities and the result is a silly film. Though several scenes bare the mark of professionalism (such as the impressive battle scenes), his latest film does simply not engage. I believe that Friedklin is a director that is absolutely depended on great scripts and talented producers in order to succeed. It's obvious that he has neither and the result is therefore a catastrophe. The characters feel designed, unreal, merely shadows, with no life outside the conflict. Even the actors can not save this film from going under. Though both Jackson and Jones act admirably, with performances that are as good as you get with a script like this, it is not something that these great actors can boast of. They have roles that they could play blindfolded with their hand on the back. Jackson is gray and Jones uninteresting. The rest of the cast, including Ben Kingsly, Blair Underwood and Guy Pearce are simply waiting for their paychecks.
The time has come for the verdict. On the charges of complete lack of objectivity, I find this film guilty. On the charges of breaking the rules of reasonable filmmaking, I find it guilty. But on the charges of racism I find this film not guilty, because of it's inconclusive and often silly plot that lacks objectivity everywhere, not only when concerning the Arab population. I must admit that the film is dangerously near the line of being racially offensive and I do think that screenwriter Stephen Gaghan went a bit too far, portraying the Yemeni people almost as stereotypical Hollywood bad-guys. This is very sad, since in a time like this it is crucial to not lose objectivity and proclaim the truth. However, it is absolutely necessary to remember that the Muslim terrorists are responsible for most of the terrorist activity in and outside the United States. And that it's not a coincidence that U.S. residents in the Middle East, including Yemen are on constant maximum alert.
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