Desert connoisseurs like Sjöström, Sternberg, Ford, Resnais, Antonioni, Herzog, Depardon, Stroheim and Lean thrown together in a meta-referential hurricane. A huis-clos in a desert(ed) No Man's Land. An avant-garde videogame of wits vs exhaustion & despair.
A uniformly acceptable, lean thriller that resists its own urge to dive head-first into critiques about the Iraq War and perceptions of terrorists by burying the conversation in a sea of prolifically employed "f-bombs." Aaron Taylor-Johnson pulls a bait and switch as he is actually the lead focus of the film, leaving John Cena's acting ability to still remain largely defined by a looming question mark. Great ending.
Why worry about the politics of war films? By now it means nothing to complicate allegiances, suggest there is no good or bad even while favouring the perspective of imperialism. The Wall could be the same decent action film out of the war, and what it delivers on its contained and grimy stage is sacrificed when it opens a dialogue between 'sides'. Sillier for making Juba a Hannibal of faceless Iraqi snipers.
A small movie, one-man movie that's coming from Doug Liman and that's a big surprise for me. I guess he chose to do this movie like a break from big scores.
The movie has its moments of boredom but also tension and action, specific to sniper movies.
And the short running time helps a lot. The ending was a little bit of surprise, not quite the predictable one.
6/10. I think its enough.
Bel essai sur un huis clos en temps de guerre, le scénario bien simple de The Wall est efficace, la tension est bien calculée par la réalisation, et on ne s'ennuie pas le moins du monde! La fin aurait pu aller encore plus loin, mais on apprécie l'apparente simplicité qui se dégage de l'ensemble du film.