Haywire

“I need to break down my process and start over again if I’m going to come back. Because I’m not gonna come back unless I’ve figured out a new way to do this, by my definition. I don’t know if that’s gonna happen or not.” – Steven Soderbergh.

I have this theory that the grueling process of making the unconventional epic biopic Che (2008), coupled with its subsequent commercial failure, broke director Steven Soderbergh’s creative spirit. It didn’t help when was fired from Moneyball (2011) over creative differences. By his own admission, Soderbergh’s interest in making “serious” films had been replaced by a desire to make “fun” ones that included the satirical docudrama The Informant! (2009), the disaster movie Contagion (2011) and the action film Haywire (2012). Built around MMA star Gina Carano, it came out of Soderbergh’s desire to make a 1960s style spy thriller (originally the now-abandoned The Man from U.N.C.L.E. film) but mutated into a photo negative of a typical James Bond film in the sense that Haywire surrounds a ruthless female protagonist with attractive men trying to kill her. While critics generally gave it the thumbs up, audiences were not interested in Soderbergh’s genre experiment and the film disappeared quickly from theaters. Has he lost the plot or were audiences simply tired of seeing ass-kicking female action stars after Salt (2010), Hanna (2011) and Columbiana (2011)?

The first thing one notices in Haywire are how the action sequences differ from most other action films. In the prologue, top-secret operative Mallory Kane (Gina Carano) is confronted by another, her ex-partner Aaron (Channing Tatum) in an upper New York state diner. It quickly erupts into a brutal fight. Instead of the usual Hollywood sound effects and frenetic editing, Soderbergh utilizes actual sounds of flesh hitting flesh in relatively long takes at a distance so that you can see exactly what is happening and where with none of the trendy, disorienting hand-held camerawork and editing that is the norm. He also refuses to accompany this fight with any kind of musical score that would manipulate one’s emotions, which makes the sickening sounds of breaking bone and grunts of exertion and pain all the more jarring.

Mallory is a private contractor hired by the United States government to do dirty jobs for them via her handler and firm director Kenneth (Ewan McGregor). Through a series of flashbacks, we find out that she and Aaron were hired to do a job in Barcelona (scored to a snazzy retro Lalo Schifrin-esque score by David Holmes) and soon afterwards she left the company. But of course it is never that easy and Kenneth ropes her into another assignment, this time in Dublin, Ireland. She’s part of a power couple along with Paul (Michael Fassbender), a freelance operative that Kenneth is trying to woo over to the company. However, Paul tries to kill Mallory (in a brutally efficient fight sequence) and she finds herself on the run.

Some criticism was leveled at the casting of non-actor Gina Carano and her inability to emote or her flat line readings. While she certainly isn’t going to win any acting awards for her work in Haywire, she isn’t any worse than “master thespians” like Jean-Claude Van Damme or Steven Seagal back when they first started out, and they were wildly successful. So, why not Carano? Is it because she’s a woman? Female action stars have historically had a tough time acquiring any kind of mainstream success. Just ask Geena Davis. With the one-two punch of Cutthroat Island (1995) and The Long Kiss Goodnight (1996), she effectively destroyed her A-list status. Angelina Jolie is a notable exception and easily the most successful female action star in the world with megahits like the Tomb Raider films, Wanted (2008) and Salt. Carano may not have the acting chops of fellow female actions stars Jolie and Kate Beckinsale but unlike their impossibly thin physiques, she’s built like a believable woman of action with her finely toned body. She has the imposing physical presence that Jolie and Beckinsale lack but without losing her feminity.

Carano does just fine in Haywire, exuding a certain amount of warmth in scenes that warrant it and adopting a determined no-nonsense attitude when called for. Naturally, she’s at her best during the numerous action sequences when she’s bashing heads or leaping from rooftop to rooftop and let’s face it, that’s why we’re watching her in this film. It is pretty obvious why Soderbergh cast her – she’s gorgeous, has a real screen presence and is tough as nails. There’s something quite impressive about the fact that she does all of her own stunts, including the extremely physical fight scenes. I like that her character isn’t some superhuman killing machine. Opponents get the drop on Mallory and she makes mistakes that get her injured. As a result, she is more relatable.

Soderbergh wisely surrounds Carano with an impressive cast of veteran actors that include Ewan McGregor, Michael Douglas and Antonio Banderas as well as up and comers like Michael Fassbender. Their presence elevates what could have easily been a direct-to-video time waster into something a little classier. This is also achieved through Soderbergh’s top-notch direction and super slick camerawork. He’s in fine form with a fast and loose style befitting a stylish spy thriller. He also adopts the same kind of hazy filters he utilized in The Informant! and a variety of them so that each location stands out, much like he did in Traffic (2000).

Haywire saw Soderbergh reunited with screenwriter Lem Dobbs who has worked previously with the director on Kafka (1991) and more infamously on The Limey (1999) (his dissatisfaction over the final product is well documented) and their latest collaboration is a solid genre workout. His screenplay is lean and trimmed of any unnecessary narrative fat. He doesn’t give Carano huge chunks of dialogue, which is wise considering her lack of acting experience. Instead, he leaves that up to the rest of the experienced cast who do all of the heavy lifting in terms of exposition dialogue. Interestingly, Haywire features a father-daughter relationship and a climactic confrontation on an oceanfront beach much like The Limey.

One night, Steven Soderbergh caught a MMA fight on television that involved one of its most well-known female fighters, Gina Carano. He had been thinking about making a ‘60s spy movie but it wasn’t going anywhere. Her fight and subsequent interview afterwards, which impressed him by how charming and sincere she came across, inspired him to build an action film around a woman. In June 2009, Soderbergh was fired from the production of Moneyball due to “creative differences.” Suddenly free to do another film, he tracked Carano down at a time when she had just lost a fight. “It seemed like a good time for the two of us to get into a room, me having been fired and her having been beaten.” Their first meeting consisted of a four-hour lunch in which they talked about her family and upbringing. He wanted to get a sense of who she was and if could he work with her. In addition, he explained how he liked to work and what would be involved. Soderbergh also needed her permission to pitch the premise to a studio, which was her starring in an action film surrounded by A-list actors.

Soderbergh approached two studios, both were interested, and he went with Relativity because they felt that Carano had a big enough of a following that a film could work. The director wasn’t worried about her lack of acting ability: “I just thought if we can get her relaxed and she can stay herself, then we’ll be okay.” He approached Lem Dobbs with the basic idea for the film – a female version of The Limey – and he agreed to write the script. The first draft was written in five weeks. For research, Soderbergh studied films by directors he felt were good at staging action sequences, including Steven Spielberg, James Cameron, John McTiernan, and David Fincher.

While making the film, Soderbergh told the stunt coordinators that he didn’t want to have any large explosions and nobody flying around on wires. It had to be “something a human can do,” he said in an interview. To this end, Channing Tatum, Michael Fassbender and Ewan McGregor did all their own fight scenes, rehearsing extensively with Carano. Soderbergh decided not to put any music over the fight scenes because he felt it would “take away from the realism. It would take you out of it.” The hotel room fight was inspired by a brutal brawl in a hotel room in Darker than Amber (1970) starring Rod Taylor that Dobbs had recommended Soderbergh watch. Haywire’s hotel room fight sequence took two days to film with Carano and Fassbender actually hitting each other – he threw her into a T.V. at one point and she smashed a vase over his head.

For the film’s score, Soderbergh talked to frequent collaborator David Holmes about the soundtrack work of Lalo Schifrin and, in particular, the jazz horn sound he used on Bullitt (1968). According to Soderbergh, the scored needed to “sound more like the character than the genre.” He wanted it to reflect what she felt rather than what the film felt like generally. Holmes’ groovy soundtrack is somewhat reminiscent of the work he did on the Ocean’s films, which had a definite funky retro vibe.

Haywire received mostly positive reviews from critics. For example, Roger Ebert gave it three out of four stars and wrote, “A film like Haywire has no lasting significance, but it's a pleasure to see an A-list director taking the care to make a first-rate genre thriller.” USA Today also gave the film three out of four stars and Claudia Puig felt that, “Carano's charisma, physicality and daring keep the adrenaline high and the clashes captivating.” The Los Angeles Times’ Betsy Sharkey wrote, “The deficits are somewhat offset by the filmmaker's sheer technical wizardry. Even Soderbergh's worst work (and Haywire isn't that) cleans up nicely with such serious attention paid to lighting, framing, casting, costumes, colors, sets; and, per usual, with the director handling the cinematography too.” The Washington Post gave the film three out of four stars and Ann Hornaday wrote, “One of the reasons Haywire is such a pleasure to watch is that its director, Steven Soderbergh, doesn't overplay the film's hear-me-roar subversions. Temperamentally, he's an understater, and he approaches his first foray into pure action with the same evenhanded cool he lends to every genre he has ever tackled.”

However, Entertainment Weekly gave it a “B-" rating and Lisa Schwarzbaum wrote, “Haywire is zippy and visually sophisticated, with tonal palettes color-coded (as in Traffic) to help make sense of time and place. But it zips to nowhere, fun only for those who agree to enjoy watching a woman inflict pain like a man, for the dumb pleasure of watching her fight.” In his review for The New York Times, A.O. Scott said of Carano: “Once the talking stops and the action begins, her professionalism is very much in evidence and exciting to watch. And yet, somehow, it cannot quite relieve the tedium of a movie that is too cool even to pretend that there is anything worth fighting about.” Time magazine’s Richard Corliss wrote, “Carano is her own best stuntwoman, but in the dialogue scenes she’s all kick and no charisma. The MMA battler lacks the conviction she so forcefully displayed in the ring. She is not Haywire‘s heroine but its hostage.

I’m not sure if audiences were expecting Soderbergh to redefine the action film but he’s clearly filtering it through his aesthetic, which is to make it as realistic as possible while still plugging in tried and true genre conventions (fight scenes, chase sequence, shoot-outs, etc.). He may be tired of the filmmaking process (he’s threatened to retire in 2013) but Haywire does not appear to be the product of someone burnt out from the biz. There is an almost playful quality to how he approaches the material as he takes an equally game Carano along for the ride. While the film isn’t groundbreaking in any way this doesn’t detract from the enjoyment of watching a well-made action film. It may not be saying anything profound but so what? It does exactly what it sets out to do: deliver an entertaining and engaging thrill-ride.

SOURCES

Kenigsberg, Ben. “Steven Soderbergh on Haywire.” Time Out Chicago. January 18, 2012.

Osenlund, R. Kurt. “Interview: Steven Soderbergh.” Slant. January 18, 2012

Smith, Nigel M. “Steven Soderbergh on Haywire, Magic Mike and Why He’s Given Up On Serious Movies.” IndieWire. January 16, 2012

Tobias, Scott. “Steven Soderbergh.” A.V. Club. January 18, 2012

Trainspotting

Trainspotting flew out of the gates in 1996 and took the world by storm, first causing a sensation in the United Kingdom, and then moving on to the United States bolstered by a soundtrack that mixed classic rockers (Lou Reed, Iggy Pop) with contemporary ones (Blur, Primal Scream). Audiences couldn’t get enough of this gritty, often funny, sometimes harrowing tale of Scottish heroin addicts. Based on Irvine Welsh’s edgy cult novel of the same name, Trainspotting was adapted by a trio of filmmakers – director Danny Boyle, screenwriter John Hodge and producer Andrew Macdonald – who had previously collaborated on the nasty suspense thriller Shallow Grave (1994). They chose just the right passages from the novel and proceeded to capture the spirit of what Welsh was trying to say without judging the characters. This resulted in the film getting into trouble as some critics felt it glorified drug addiction. The film takes an unflinching look at the lives of a group of drug addicts and shows why they do drugs — the highs are so unbelievably amazing. However, Trainspotting also shows the flip side: death, poverty and desperation, which lead to stealing, lying and cheating just to get more drugs. Regardless, the film was a commercial and critical success, spawning all sorts of imitators and influencing countless other U.K. filmmakers to go through the door that it kicked open.


The six-minute prologue does a brilliant job of introducing a group of Scottish drug addicts as seen through the eyes of one of them — Mark “Rent Boy” Renton (Ewan McGregor). His friends include a speed freak motormouth named Daniel “Spud” Murphy (Ewen Bremner), a suave ladies’ man, Simon “Sick Boy” Williamson (Jonny Lee Miller), straight-edged Tommy MacKenzie (Kevin McKidd) and sociopath Francis “Franco” Begbie (Robert Carlyle). Each one of them has their own distinct personality that each actor vividly brings to life. This prologue also sets the tone for the rest of the film as it starts literally on the run with Renton and Spud being chased by the cops to the pounding strains of “Lust for Life” by Iggy Pop (before it became overused thanks to countless commercials using it bizarrely out of context) as Renton’s voiceover narration talks about his “sincere and truthful junk habit.”

The energetic camerawork — fasting moving tracking shots (that recall Mean Streets) as Spud and Renton run from the police and the freeze frames (reminiscent of GoodFellas) with title cards identifying each character is an obvious stylistic homage to Martin Scorsese. Like many of his films, Trainspotting is bursting at the seams with energy and vitality that is very engaging. The prologue does its job by immediately grabbing our attention and drawing us into this world populated by colorful characters. After 30 minutes of showing the incredible highs of shooting heroin where we’re caught up in the euphoria of it with Renton and his friends, director Danny Boyle starts to show the ugly side, starting with the death of fellow junkie Allison’s baby due to neglect.

From there, Renton and Spud get arrested for stealing with the former going into a rehab program while the latter goes to jail but not before Renton takes one more hit and promptly overdoses in a surreal bit where he sinks into the floor and is taken to the hospital by taxi seen mostly from his zonked out point-of-view to the strains of “Perfect Day” by Lou Reed. However, Trainspotting’s heart of darkness is the sequence where Renton goes through the horrors of withdrawal and his reality becomes warped by hallucinations of Allison’s dead baby and his friends. Ewan McGregor really does a fantastic job of conveying Renton in the depths of a painful and terrifying withdrawal.

John Hodge’s screenplay masterfully distills Welsh’s novel to its essence and includes some of its most memorable dialogue. From Renton’s famous “Choose life” monologue (“Choose life ... But why would I want to do a thing like that? I chose not to choose life: I chose something else. And the reasons? There are no reasons. Who needs reasons when you've got heroin?”) to Sick Boy’s “Unifying Theory of Life” speech (“Well, at one time, you've got it, and then you lose it, and it's gone forever.”), Trainspotting has insanely quotable lines. This helped it develop a loyal cult following over the years that continues to champion the film even to this day. And yet what resonates most is its honesty. The film doesn’t sugarcoat its message and it isn’t preachy about it either. There is an ironic detachment that transforms it into a playful black comedy mixed with gritty drama and surreal sequences.

It doesn’t hurt that this excellent material is brought to life by a fantastic cast of then relative unknowns (especially to North American audiences). Ewan McGregor has the toughest role in the film playing an unrepentant junkie while also acting as the anchor that the audience identifies with and the character that the rest of the cast revolves around. It is a tricky balancing act because Renton does things that make him unlikable and yet we still root for him because of McGregor’s charisma. Fresh from his role as an American computer user in Hackers (1995), Jonny Lee Miller plays Sick Boy, Renton’s best mate but someone who lacks “moral fiber” despite his vast knowledge of Sean Connery. He ends up taking advantage of his friend in a dodgy scheme and Miller does a nice of showing how Sick Boy went from best mate to scheming con man.

Robert Carlyle is also great as the completely unhinged Begbie. The scene where he recounts a colorful story about playing pool (“I'm playing like Paul-Fuckin'-Newman by the way.”) and dealing with his cocky opponent (“You ken me, I'm not the type of cunt that goes looking for fuckin' bother, like, but at the end of the day I'm the cunt with a pool cue and he can get the fat end in his puss any time he fucking wanted like.”) perfectly captures the essence of his character. Begbie gets his kicks from starting up trouble. As Renton puts it, “Begbie didn't do drugs either. He just did people. That's what he got off on; his own sensory addiction.” Carlyle has a frightening intensity and an unpredictability that is unsettling and exciting to watch. Ewen Bremner completes the core group of characters as the not-too bright Spud. He has a good scene early on when, hopped up on speed, he goes to a job interview with the notion of sabotaging it without appearing to. It’s a tricky tightrope that Bremner handles expertly.

Trainspotting also features one of the best contemporary soundtracks with an eclectic mix of British music from the likes of Primal Scream, New Order, Blur and Underworld, and from America, Iggy Pop and Lou Reed. The music veers back and forth from the adrenaline-rush of Iggy Pop’s “Lust for Life” to the faux spy music by Primal Scream to the drugged-out mellow mood music of “Perfect Day” by Lou Reed. Taking a page out of Scorsese’s book, the filmmakers use the music as signposts by conveying the transition of guitar-driven rock in the 1980s to the acid house music scene in the 1990s.

Producer Andrew Macdonald first read Irvine Welsh’s novel Trainspotting on a plane in December 1993 and felt that it could be made into a film. He turned it on to his filmmaking partners, director Danny Boyle and screenwriter John Hodge in February 1994. Boyle was excited by its potential to be the “most energetic film you’ve ever seen – about something that ultimately ends up in purgatory or worse.” He convinced Welsh to let them option the rights to his book by writing a letter stating that Hodge and Macdonald were “the two most important Scotsmen since Kenny Dalglish and Alex Ferguson.” (legendary European football player and manager, respectively, from Scotland) Welsh remembered that most people interested in optioning his book, “wanted to make a po-faced piece of social realism like Christiane F or The Basketball Diaries.” He was impressed that Boyle and his partners wanted everyone to see the film and “not just the arthouse audience.” Welsh agreed to sell the rights to them.

In October 1994, Boyle, Hodge and Macdonald spent a lot of time discussing which chapters of the book would and would not translate onto film. Hodge adapted the novel, finishing a first draft by December, while Macdonald secured financing from Channel 4, a British television station known for funding independent films. According to the screenwriter, his goal was to “produce a screenplay which would seem to have a beginning, a middle and an end, would last 90 minutes and would convey at least some of the spirit and the content of the book.”

Pre-production on Trainspotting began in April 1995. When it came to casting the pivotal role of Mark Renton, Boyle wanted somebody who had the quality “Michael Caine’s got in Alfie and Malcolm McDowell’s got in A Clockwork Orange”: a repulsive character with charm “that makes you feel deeply ambiguous about what he’s doing.” Boyle and Macdonald were impressed with the performance Ewan McGregor had given in their previous film, Shallow Grave, and cast him in advance. Ewen Bremner had actually played Renton in the stage adaptation but agreed to play the role of Spud because he felt “that these characters were part of my heritage.” Boyle had heard about Jonny Lee Miller playing an American in Hackers and was impressed with him when he auditioned by doing a Sean Connery accent. For the role of Begbie, Boyle thought about casting Christopher Eccleston who had been in Shallow Grave but asked Robert Carlyle instead. The actor said, “I’ve met loads of Begbies in my time. Wander round Glasgow on Saturday night and you’ve a good chance of running into Begbie.”

Once cast, Ewan McGregor shaved his head and lost 26 pounds. To research the role, the actor actually considered taking heroin but the more he read and learned about it, the less he wanted to do it. Then, he went to Glasgow and met people from the Carlton Athletic Recovery Group, an organization of recovering heroin addicts. He (and several other cast members) took classes on how to cook up a shot of drugs using glucose powder.

With a budget of $2.5 million, Trainspotting was shot during the summer of 1995 over seven weeks. The cast and crew moved into an abandoned cigarette factory in Glasgow. Due to the rather small budget and limited shooting schedule, most scenes were shot in one take with the effects done practically. For example, when Renton sank into the floor after overdosing on heroin, the crew built a platform above a trap door and lowered actor McGregor down.

When Trainspotting was shown out-of-competition at the 1996 Cannes Film Festival, it received a standing ovation. Once Miramax Films picked it up for North America, Macdonald worked with them to sell the film as a British answer to Pulp Fiction (1994), flooding the market with postcards, posters, books, soundtrack albums, and a revamped music video for Iggy Pop’s’ “Lust for Life” directed by Boyle.

The critical reaction towards Trainspotting was generally very favorable. In the U.K., The Guardian’s Derek Malcolm wrote, “Even so, this is an extraordinary achievement and a breakthrough British film, shot by Brian Tufano with real resource, fashioned more imaginatively than Shallow Grave by Boyle, less determined to please, and acted out with a freedom of expression that's often astonishing.” In his review for Sight and Sound magazine, Philip Kemp wrote, “Following up a critically-acclaimed debut is difficult, but Danny Boyle and his colleagues have cleared that hurdle triumphantly. Trainspotting establishes them beyond any doubt as one of the most dynamic and exciting forces in British cinema.” Empire magazine gave the film five out of five stars and felt that it was, “Something Britain can be proud of and Hollywood must be afraid of. If we Brits can make movies this good about subjects this horrific, what chance does Tinseltown have?”

Stateside, critics also gave the film positive notices. Roger Ebert gave the film three out of four stars and wrote, “It uses a colorful vocabulary, it contains a lot of energy, it elevates its miserable heroes to the status of icons (in their own eyes, that is), and it does evoke the Edinburgh drug landscape with a conviction that seems born of close observation. But what else does it do? Does it lead anywhere? Say anything? Not really. That's the whole point.” The Los Angeles Times’ Kenneth Turan wrote, “And though some of the words get lost in either local slang or thick Scottish accents, the script's most memorable flights invariably go to Renton, devoid of regret or remorse, wised up to the nth degree. His delight in language nicely balances his ruthlessness, and in McGregor … the film has an actor whose magnetism monopolizes our attention no matter what.” Entertainment Weekly gave the film an “A” rating and Owen Gleiberman wrote, “Carlyle, whose mellow good looks make Begbie's short fuse seem all the more treacherous, gives the scariest barroom-psycho performance in years.” In her review for The New York Times, Janet Maslin wrote, “Mr. McGregor underplays Renton to dry perfection without letting viewers lose sight of the character's appeal. Comic timing is everything here, and Mr. Boyle elicits disarmingly droll performances all around.” The Washington Post’s Desson Howe felt it was “Without a doubt, this is the most provocative, enjoyable pop-cultural experience since Pulp Fiction.”

Trainspotting has aged surprisingly well considering it was one of those zeitgeist-defining movies of the ‘90s. It also set the tone and style of later British exports, opening the floodgates for films like the nasty crime drama Twin Town (1997), the hyperactive rave culture comedy Human Traffic (1999) and the films of Guy Ritchie. In an interview for The Guardian, Boyle said, “Has it dated? I can't tell you that. I am alarmed sometimes by how young the people are who say they've seen and loved Trainspotting, so it might have lost an edge it once had. Shallow Grave looks dated, fashion-wise, but Trainspotting has an abiding style.”

SOURCES

Gordinier, Jeff. "Stupor Heroes." Entertainment Weekly. August 2, 1996.

Grundy, Gareth. "Hey! Hey! We're the Junkies!" Neon. February 1998.

"Trainspotting." Empire. June 1999. 

DVD of the Week: The Men Who Stare at Goats

George Clooney is one of those versatile actors that can easily go back and forth between big budget studio films like Ocean’s Eleven (2001) and smaller, more personal independent films like Good Night, and Good Luck (2005). One gets the feeling that given his preference, he’d much rather make the latter than the former but he’s smart enough to know that doing the occasional studio film gives him the opportunity to make smaller films. One glance at the cast list for The Men Who Stare at Goats (2009) and you would assume that it was a studio film with the likes of Clooney, Jeff Bridges, Ewan McGregor, and Kevin Spacey involved. It’s the offbeat premise, however, that could only come from an indie film.

Inspired by Jon Ronson’s non-fiction bestseller of the same name, The Men Who Stare at Goats follows the misadventures of Bob Wilton (Ewan McGregor), an investigative journalist in search of a major story to cover. He stumbles across a secretive wing of the United States military called The New Earth Army, created to develop psychic powers in soldiers. These include reading the enemy’s thoughts, passing through walls, and yes, killing a goat by staring at it. While doing a story about a man (Stephen Root) who stopped the heart of his pet hamster with his mind for a local newspaper in Ann Arbor, Wilton finds out that this man used to be part of a top secret military unit of psychic spies in the 1980s. At least, that’s what he claims.

Understandably skeptic about the man’s abilities, Wilton learns about the former leader of the unit, Lyn Cassady (George Clooney), “the most gifted psi-guy” who now runs a dance studio. After a co-worker dies suddenly and his wife leaves him for his editor, Wilton interprets these incidents to be a wake-up call and travels to the Middle East to cover the war. By chance (or is it?), while staying at a hotel in Kuwait, he runs into Cassady. This self-proclaimed Jedi Warrior (?!) tells Wilton about Project Jedi, a hush-hush assignment that cultivated Super Soldiers with super powers. Cassady’s technique for tapping into these powers involves drinking alcohol and listening to the music of classic rock band Boston.

Wilton learns all about this elite unit that combines “the courage and nobility of the Warrior” with “the spirituality of the Monk,” and follows in the footsteps of “the great Imagineers of the past”: Jesus Christ, Lao Tse Tung and Walt Disney. Wilton convinces Cassady to allow him to tag along during his mission in Iraq and the rest of the film plays out as a quirky road movie cum satire of war films.

George Clooney is quite good as the clearly bat-shit crazy Cassady. The actor plays the role seriously but you can see that insane glint in his eyes. It’s impressive how he is able to say some of his character’s ridiculous dialogue with a straight face. Clooney gets maximum laughs by playing it straight and is also not afraid to act silly when the situation calls for it. And it does in one of the film’s funniest set pieces during a flashback where Cassady’s New Age commanding officer (Jeff Bridges) loosens up the unit by having them spontaneously dance to “Dancing with Myself” by Billy Idol. It’s pretty funny seeing a bunch of uniformed soldiers, Clooney included, dancing their asses off.

Clooney is surrounded by a very impressive supporting cast. Jeff Bridges plays a peace-loving high ranking soldier, sort of the Dude if he had been drafted instead of dropping out of society. Kevin Spacey is the black sheep of the unit and jealous of Clooney’s powers. Meanwhile, Ewan McGregor is the naive reporter and audience surrogate. They all get their moments to show their stuff but the film really belongs to Clooney and his seriously wacky character.

After making serious political films like Syriana (2005) and Good Night, and Good Luck, it’s nice to see Clooney starring in a political satire that is funny but still has something to say as it shows the absurdity of the war in Iraq. This is evident in a scene where Cassady and Wilton narrowly escape a firefight between two competing security firms. The Men Who Stare at Goats falls under the truth is stranger than fiction category as it presents a story populated by eccentric characters and tall tales, some of which might be true. Regardless, it is an entertaining film with a wonderfully oddball sense of humour in the same vein as other memorable war satires like M*A*S*H (1970), Catch 22 (1970) and Three Kings (1999). Don’t be put off by the setting. Although it takes place in Iraq, The Men Who Stare at Goats is not weighed down by the baggage of this war.

Special Features:

There is an audio commentary by the film’s director Grant Heslov. He points out certain characters that are composites but is quick to explain that what they say comes from Jon Ronson’s book. He sometimes spends too much time telling us where certain scenes were shot which gets tiresome pretty fast. Heslov’s focus is mostly on the nuts and bolts of filmmaking but done in a fairly dry and uninteresting way.

Also included is a commentary by the book’s author Jon Ronson. He points out the scenes that are based on real incidents and talks about meeting the actual people that the characters are based on. He also explains who the composite characters are and tells all sorts of fascinating anecdotes. If you want to learn more the people and events behind the ones depicted in the film, this is worth a listen if only to find out how much is taken from his book and experiences.

“Goats Declassified: The Real Men of the First Earth Battalion” features some of the actual military personnel depicted The Men Who Stare at Goats. They talk about some of their intentions. We also learn about how this top secret unit’s techniques were brought to light. It’s great to hear from the actual people as they tell their fascinating stories.

“Project ‘Hollywood’: A Classified Report from the Set” takes a brief look at the origins of the film and how it got made. Several of the lead actors talk about their characters and there’s footage of them having fun on location.

“Character Bios” is a collection of trailer for the film emphasizing several key characters.

Also included is four minutes of deleted scenes. There is more flashback footage some of which should’ve stayed in as it’s quite funny.

Finally, there is a theatrical trailer.