If Green Zone taught me one
thing—and even that’s being generous—it’s that I was wrong to
ever assume liberal Hollywood would quit making anti-Bush
movies. Had the institution been any less vociferous and undying
in its hatred of the previous administration’s perceived wrongs,
I might have even considered the possibility that this dud was
shelved for five years and then haphazardly dumped into
theaters, only to seem inappropriately dated. But these people
just won’t let go of their favorite whipping boy, even with a
new, progressive President whom they love telling them to look
towards the future. It’s pathetic.
And it’s not like Green Zone
is about the current situation in Iraq, either. That I could
have understood. The war, which will soon celebrate its seventh
anniversary, is still very much relevant and alive in the
political discussion today. But director Paul Greengrass and
star Matt Damon (reuniting after the very popular Bourne
Identity films) have made a movie about the failed search
for WMDs. Is this not a fact of the war that everyone—liberal
and conservative—recognizes? Nobody still believes Sadaam
was stockpiling through 2003. So, even sans political
statements, there is no possible way Green Zone could
have been relevant in the least.
But I knew all that going into the
film, even if most viewers won’t, given the marketing has
intentionally made this look like a gun-ho, dare I say
conservative Bourne film set in Iraq. However, what
surprised me and what will shock those who have been duped by
the previews is that Green Zone not only dwells on the
Bush Administration’s failures, but spends most of its time
entertaining the conspiracy theory that all the WMD intelligence
was deliberately fabricated by senior White House officials. Ah,
yes, as Damon’s Officer Roy Miller and his men run around on a
deadly wild goose chase for the weapons, Greg Kinnear’s Clark
Poundstone (the movie’s symbol for Bush and company) busily
covers up boundless deceit. Green Zone has all the
insight of a “Bush Lied, People Died” bumper sticker.
No, Bush is never directly mentioned
and the film doesn’t make any claims about being factual, but
any educated viewer clearly knows what Greengrass and
screenwriter Brian Helgeland are getting at. And those viewers
lacking a proper education? Well, let’s just say my blood began
to boil a little when my audience let out several audible
“ooohs” and “aaahs” with each fictional revelation about the
real source of the infamous “bad intelligence.” Granted, these
were probably elicited by hardcore liberals who have been in
lock-step with the movie’s messages since Bush first took
office. But the thought that they could have been coming from
unknowing moviegoers buying Green Zone’s propaganda is
terrifying.
For those who have become
anesthetized to Hollywood’s politicking and just want to see a
good action flick, Green Zone isn’t for you, either.
Greengrass’ trademark shaky camera doesn’t work here at all,
distorting the action beyond reason and inducing motion-sickness
at times. I was a big proponent of the technique in both of his
Bourne films as it helped demonstrate the frantic,
adrenaline-filled nature of the action. And it served his
masterpiece, United 93, very well in providing a
first-person sense of intimacy. But in Green Zone, it
just seems like the cameraman has Parkinson’s. Yeah, we get it,
being on the ground in Iraq is a flurry and it’d be impossible
for an everyday moviegoer to keep a steady view of everything if
they were transplanted into the action. But the film
underestimates said moviegoer’s intelligence in assuming it
needs to literally demonstrate this every step of the way. Such
overindulgence is clearly Greengrass’ fault, because
cinematographer Barry Ackyoyd has showed us how well he can lens
similar material, winning an Oscar for his work on The Hurt
Locker.
Green Zone occasionally hits
on a good idea, but this is inevitably swallowed up by further
statement-making. For instance, its take on how the media fell
hook, line, and sinker for the Iraq War at first, failing to ask
the tough questions, starts out solid. Officer Miller meets
Wall Street Journal writer Lawrie Dayne (Amy Ryan) who
literally reports on the War through the information she’s
handed, not investigating it any further. (Yeah, the character
had to be from the conservative paper, but I momentarily
cut the movie some slack because Dayne seemed an appropriate
metaphor for the press as a whole.) But, soon enough, this
thread soon becomes an empty vehicle for the idea that all the
WMD intelligence was deliberately fabricated.
What’s the ultimate virtue Green
Zone seeks to extol? It seems to be that we Americans should
have listened to the Iraqis, even going so far as to paint
Sadaam’s fictional second-in-command, Al Rawi (Igal Naor), as a
source of wisdom. That’s hardly the Bourne flick most
audiences will be paying to see, but then again, it’s hard to
fault Universal for doing their darndest to recoup some
box-office from what was clearly an expensive turkey. Neither
profound nor riveting, Green Zone may represent an even
greater blunder for liberal Hollywood than the Iraq War was for
the Bush Administration.
-Danny Baldwin,
Bucket Reviews
Review Published
on: 3.13.2010
Green Zone is rated R and runs 115 minutes.
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