A fictionalized account of the first major successful sexual harassment case in the United States -- Jenson vs. Eveleth Mines, where a woman who endured a range of abuse while working as a miner filed and won the landmark 1984 lawsuit.
In Monroe, Tennessee, Hank Deerfield, an aging warrior, gets a call that his son, just back from 18 months' fighting in Iraq, is missing from his base. Hank drives to Fort Rudd, New Mexico, to search. Within a day, the charred and dismembered body of his son is found on the outskirts of town. Deerfield pushes himself into the investigation, marked by jurisdictional antagonism between the Army and local police. Working mostly with a new detective, Emily Sanders, Hank seems to close in on what happened. Major smuggling? A drug deal gone awry? Credit card slips, some photographs, and video clips from Iraq may hold the key. If Hank gets to the truth, what will it tell him? Written by
Several of the actors who played soldiers, including Wes Chatham (Corporal Steve Penning), Jake McLaughlin (Spc. Gordon Bonner) and Sean Huze (Captain Jim Osher) had actually served in the Iraq War themselves. See more »
The opening subtitle says that the Deerfields live in "Munro, Tennessee", but the address on the side of Hank's truck says "Munroe, Tennessee". See more »
Spc. Gordon Bonner:
What are you doing? Get back in the fucking vehicle man! Mike, get back in the fucking vehicle. Let's go, Mike, now!
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Why do most critics attack this film for being heavy-handed?
Only Roger Ebert and the reviewer for Rolling Stone seem to see the truth here: this film is slow and elegiac because it deals with heavy matters, but it is never boring, not if you understand the situation and the depth of feelings being explored. It's as if reviewers don't get it because they didn't really feel what the film is saying. Saying that there have been dozens of films about how war ruins men so it's a cliché, and that this one is too dreary and slow means that a person has stopped feeling for what is really hurtful, is even in denial. And that's the theme of this film: what happens when we lose touch with what's painful and don't care any more. The film is restrained but powerful, which is why it has such a strong effect.
Jones is wonderfully grim, with a face like a road map, as he explores what happened to his son. Charlize Theron is beautiful even though she is playing a woman who is forced to act as non-sexy as possible to get on in her job in a male police force. Susan Sarandon is not, as some critic said, "underused"; she gives a performance that is all the more powerful because it is restrained. This movie should be a must see for all who believe that the Iraq war should continue until there is an honorable time for America to leave. That time is already passed.
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