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In addition to being the director’s first film in nearly a decade, it is also one of his best, and it is the first film I have seen since our national nightmare began in 2020 that I have truly regretted missing out on seeing at the cinema. While I would always prefer to see a film in a theater, the truth is that films like “The King of Staten Island” and “Trolls: World Tour” haven’t suffered significantly from the move from the multiplex to the video on demand platform. “The Outpost,” on the other hand, is intended to be a visceral, you-are-there experience, similar to films such as “Black Hawk Down” or “Saving Private Ryan,” which drop viewers right into the middle of an absolute nightmare. While dozens of films have attempted to recreate the unimaginable horror of literally fighting for your life, “The Outpost” succeeds in connecting with audiences more than most, thanks in large part to Lurie’s technical skill and a young cast that elevates what could have been a tired and overused subject matter. Scott Eastwood and Caleb Landry Jones, in particular, turn in some of their best performances of their respective careers.
“Our mission going forward will be the same as it has always been.” “Yeah, in order to survive.”
Simply by looking at the geographic layout of the outpost at Kamdesh in Afghanistan in 2006, one can see how the mission to survive was a constant source of concern. At the beginning of “The Outpost,” Lurie and his cinematographer Lorenzo Senatore show viewers a tracking shot that reveals how the real outpost was situated in the worst possible location, in the middle of a deep valley, revealing how the real outpost was situated in the worst possible location, in the middle of a deep valley. The enemy Taliban forces always had a commanding view of the area and were able to conceal themselves on one of the many ridges that overlooked the area. They had the ability to fire directly into the outpost, which had been established near the Pakistani border to assist with community relations, which had quickly deteriorated following attacks on the outpost and the formation of mistrust among the local elders.
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For the first half of the film, Lurie and screenwriters Paul Tamasy and Eric Johnson (“The Fighter”) take an episodic approach, as the troops at the Kamdesh outpost suffer tragedies that necessitate the appointment of new commanders. The majority of this half is made up of routine conversations that are occasionally interrupted by gunfire. The dialogue frequently overlaps, and many of the characters’ faces blend together, but that is part of the purpose of the piece. All of these men were of a similar age and often came from similar backgrounds, and they all alternated between extreme boredom in a remote outpost and constant terror associated with an impending attack. In particular, Lieutenant Benjamin D. Keating (Orlando Bloom), Staff Sergeant Clint Romesha (Scott Eastwood), Specialist Ty Michael Carter (Caleb Landry Jones), and Captain Robert Yllescas (Scott Eastwood) stand out (Milo Gibson).
The Outpost Quiz
Every performance in “The Outpost” is superior to the norm, which is particularly noteworthy for a film of this caliber, and it is one of Lurie’s crowning achievements. As a result, he manages to capture the “average guy” nature of this group of soldiers while also providing his performers with just enough of what they require to stand out from the crowd. Eastwood is particularly strong, delivering a performance that is so evocative of his father’s youth that one can almost close their eyes and hear Clint speaking in the background. (You can try it on him when he says “No.” “Not today,” says the author. It almost sounds like Clint was the one who came up with the phrase.) And Jones continues to impress throughout the film, particularly in the latter half of the picture.
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That half of the film is almost entirely devoted to the two-day attack that took place in October 2009, which was one of the most brutal modern assaults on the never-ending war that has been raging in that region since 9/11, and can be summarized in about an hour of cinematic storytelling. When the Taliban fighters learned that the outpost was finally being closed, they decided to send a message to the men who were still there. They dispatched hundreds of soldiers to attack the men who were still there. When it comes to filmmaking, Lurie follows in the footsteps of Ridley Scott, in which bullets and yelled orders take precedence over all else. However, he never gets lost in the action, as so many contemporary directors tend to do (looking at you, Peter Berg). He is able to convey the insane state of mind without resorting to cheesy filmmaking techniques or manipulative storytelling techniques.
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While “The Outpost” isn’t the first film to document how human error has resulted in a loss of life (the Battle of Kamdesh resulted in multiple disciplinary actions against people who failed to support the base in the first place), it is most certainly the most recent, and it will most certainly not be the last. Unfortunately, acts of heroism frequently result from structural failures that have occurred. What elevates Lurie’s film is its sense of balance, which never allows the film to devolve into blind jingoism or a scathing indictment of a broken system that forces young men to die. And he keeps his gaze where it should be: on the real people who are caught up in the middle of it all, trapped in the valley of war.
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The film is currently playing in theaters and on VOD.
For more personality quizzes check this: Jiang Ziya Quiz.
