Marcus Luttrell and his team set out on a mission to capture or kill notorious Taliban leader Ahmad Shah, in late June 2005. Marcus and his team are left to fight for their lives in one of the most valiant efforts of modern warfare.
Navy S.E.A.L. sniper Chris Kyle's pinpoint accuracy saves countless lives on the battlefield and turns him into a legend. Back home to his wife and kids after four tours of duty, however, Chris finds that it is the war he can't leave behind.
Action/war drama based on the best-selling book detailing a near-disastrous mission in Somalia on October 3, 1993. On this date nearly 100 U.S. Army Rangers, commanded by Capt. Mike Steele, were dropped by helicopter deep into the capital city of Mogadishu to capture two top lieutenants of a Somali warlord. This led to a large and drawn-out firefight between the Army Ranges, US Special Forces, and hundreds of Somali gunmen; resulting in the destruction of two U.S. Black Hawk helicopters. The film focuses on the heroic efforts of various Rangers to get to the downed black hawks, centering on SSG Eversmann, leading the Ranger unit Chalk Four to the first black hawk crash site, Chief Warrant Officer Durant who was captured after being the only survivor of the second black hawk crash, as well as many others who were involved. Written by
Matthew Patay: revised by Corbin L.
A very American war story directed by an Englishman
I've been watching this movie and its accompanying extras on DVD this week for the first time and I thought is ironic that this very American war story should be directed and produced by an Englishman (Ridley Scott) and have a large number of British actors cast as the American servicemen (Ewan McGregor, Jasson Issacs, Hugh Dancy, Euan Bremner, Orlando Bloom.) I suppose it's the equivalent of Steven Spielberg directing a film about the Battle of Goose Green during the Falklands War and casting Americans as members of the Parachute Regiment.
Scott's movie is quite brave in that it has no major stars and no central character (unlike, say Tom Hanks in SAVING PRIVATE RYAN or Mel Gibson in WHEN WE WERE SOLDIERS). It's also largely free of the clichés of the genre: no soaring John Williams score accompanying shots of the flag fluttering in the sunlight; no scenes of the families back home. Instead its all about the logistics and the absolute horror of battle. This is the best combat footage since ZULU way back in 1964, a film which it resembles. In Scott's commentary description words, it is 'Anti-War but pro-military'.
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