There’s a bit of dissonance in the idea of Wahlberg, clearly showing his 42-year age, being a subordinate, but he acquits himself well of the difficult Luttrell role. It’s graphic, but more than that, it’s just brutal.īerg elicits top-quality performances out of the four actors at the center of all this chaos. The middle act maintains a lightning pace all the way through, and it never lets up on demonstrating the level of physical punishment these SEALs suffered through. It’s all heightened by sharp sound design that amplifies every juddering assault rifle and concussive blast. Bullets whizz around in all directions, wounds are captured in stark close-ups, and tumbles down Afghanistan’s rocky hills make use of slow-mo to highlight the bone-on-stone impacts. Once the chase is on, Berg wields tension like a blunt instrument. It’s hard to forget while you’re watching that the actual Luttrell and his squadmates faced this very decision whether or not it unfolded as Berg imagines it did, the scene carries across the indecision the actual soldiers no doubt felt. Berg’s tight balance between soldier shop-talk and emotional outbursts at the idea of executing civilians – an option that was considered – is what sells the scene. The real life goat herders were released unharmed and then quickly gave up the position of the SEALs. All of the pain and misery to come hinges on the decisions made in this brief stretch of minutes. The goat herder scene is a pivotal trigger moment for the film, and the performances sell it.
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There’s a stark contrast between the intro’s briefing and the hurried debate over how to deal with these Afghani interlopers. force – are the subject of a heated exchange over how to interpret the Rules Of Engagement. The goat herders that discover SEAL Team 10 – and ultimately give away the location of the U.S. The jargon never fully disappears later on, but meanings become clearer as action serves to define the words. A fan of first-person shooter video games may be versed in some of this language, but the abundance of acronyms and shorthand is difficult for the average viewer to follow.
The problem is that it flies by just a little too quickly once Red Wings moves into the briefing phase.
The personal moments are just as vital as the dense jargon. To Berg’s credit, he stuffs a lot of important information into Lone Survivor’s first act. The rapid-fire pace of Lone Survivor’s intro serves to get us to the heart of the story that much quicker – and that’s a good thing – but keeping up with the rapid-fire military jargon in the run-up to Red Wings is a challenge for those not steeped in soldierspeak. The director embraces realism to the point of distraction. Berg’s 2007 effort The Kingdom suffered from the same problem. The principal shortcoming in all of this scene-setting is its emphasis on jargon. Berg’s early character-building with Luttrell, Danny Dietz (Emile Hirsch), Matt Axelson (Ben Foster), and Mike Murphy (Taylor Kitsch) that plays out early on is vital to the emotional impact of the rest of the film. Seemingly trivial moments come to reverberate later in the film, whether it’s a hasty IM exchange between husband and wife, or a humorous back-and-forth over the realities of purchasing an Arabian horse. Lone Survivor is the sort of movie that kicks your teeth in.It is time well-spent, for the most part.
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