A young journalist, a seasoned cameraman and a discredited war correspondent embark on an unauthorized mission to find the No.1 war criminal in Bosnia. However, their extremely dangerous target decides to come after them.
A young journalist, a seasoned cameraman and a discredited war correspondent embark on an unauthorized mission to find the no. 1 war criminal in Bosnia; they find themselves in serious jeopardy when they are mistaken as a CIA hit squad and their target decides to come after them. Written by
The original title of the movie was 'Spring break in Bosnia'. See more »
The UN mission ended in 20 December 1995 when NATO took over (IFOR/SFOR). In 2000 there should have been SFOR flags instead of the UN flags, SFOR patches, not UN and no blue berets. Military vehicles should have their national camouflage painting and SFOR markings. This is for NATO/SFOR details. The UN Mission (UNMIBH) was still active during the time this film depicts and the UNMIBH personnel and equipment are accurate - specifically the blue berets and UN vehicles for the UN International Police Task Force personnel in Foca. See more »
Only the most ridiculous parts of this story are true.
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After the main credits, a clip of Arif Alaibegovic singing "Na Ophodi Prema Bakijama" appears besides the next set of credits. See more »
Hollywood's political conscience continues to grow........
Just got back from the premiere at Venice, where a huge round of applause acknowledged the film's quality as well as Richard Gere's enduring star status.
As society and modern youth get serious again, so Hollywood follows the trend, as movies tackle war corruption and hypocrisy following Clooney, Gore et al's lead. Shephard manages to combine thriller with humour and quips without it becoming a cheesy Lethal Weapon type ride. That's due mainly to sterling performances from Gere, reinvigorates after The Hoax, and Howard, showing a comic side after the intensity of 'Crash' Jesse Eisenberg also looks like this role was written for him personally, and the remaining cast are appropriate. The crisp, realistic docu-direction, mainstreamed by Paul Greengrass, has exerted its influence and fits neatly into this film without looking forced.
Therefore, it works - it brings a serious issue to attention with humour, compassion and enough adrenaline to remind one of the risks some people take with their lives for their causes, when most of us take the cosy path of least resistance.
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