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A Lot or a Little?
What you will—and won't—find in this movie.
Suspects lie during a murder investigation; references to a female detective having slept with her commander; film raises questions about military objectives and training, as well as soldiers' lack of discipline in Iraq and back home. Male detectives taunt the only woman in their unit, and some racism is displayed toward Mexican Americans.
Violence & Scariness
Frequent violence and images showing the results of violence. Cell phone footage shows explosions, gunfire, and shots of bodies on the roadside, as well as U.S. soldiers in Iraq hitting a child with a vehicle (off screen, but loud noise and verbal reactions), and a soldier torturing a man (below screen) by twisting a finger in his wound. Murder victim's body is briefly visible; discussion of his multiple stab wounds. Background TV footage refers to and briefly shows war images, including Fallujah 2004, when contractors were killed and burned in front of TV cameras. Veterans discuss trauma in war zone (watching, suffering, committing violence). Brief shot of woman's bloody body. Hank slams a man with his truck door, leaving him bloody. Detectives wield guns.
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Sex, Romance & Nudity
Female dancers sport naked breasts in a strip bar scene. Stripper speaks to Hank while she's nude from the waist up (viewers see her breasts full-on). Discussion of soldiers seeking out prostitutes. Discussion of Emily having slept with her unit chief by fellow detectives who resent her promotion to their ranks.
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Some salty soldier language, including repeated uses of "f--k" (over 20, one with "mother"), as well as "hell," "ass" and "a--hole," "s--t," "son of a bitch," "damn," and "p---y." Pejorative use of "chico" to refer to a Mexican-American solider.
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Products & Purchases
Drinking, Drugs & Smoking
Background cigarette smoking; characters drink several times (liquor, beer) in a bar and in a truck (two men share a bottle of Jim Beam). Discussion of a soldier trying to "score meth."
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Parents Need to Know
Parents need to know that this contemplative, slow-moving mystery/drama isn't for kids. Its focus on military culture and wartime trauma yields images of chaotic, violent combat footage (much of this is shown in choppy, handheld cell phone video that can be hard to see/interpret). The movie's central murder is discussed frequently, and morgue scenes show the victim's mother's grief, as well as a brief glimpse of the body itself (there's another quick shot of an additional victim's body later on). Strippers are bare-breasted, and characters discuss a female detective who slept with her boss. Strong language includes many uses of "f--k," plus other profanity ("s--t," "p---y," "ass," etc.), and some disparaging terms used to describe Mexican Americans. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails.
Is It Any Good?
Like his award-winning Crash, Paul Haggis' war-centric drama is heavy-handed, raising important questions about military culture and masculinity, but finding only superficial answers. While the film is instructive in underscoring different perceptions of the military (where Hank trusts in the loyalty of masculine, combat-forged company, Emily sees rupture, competition, and cruelty), Elah does less well in considering the racism beneath the unit's surface.
Nonetheless, one scene in which Hank confronts a Mexican-American private named Ortiez (Victor Wolf) proves particularly affecting. The private remembers being in Iraq and wanting only to come home. Now, he says softly, he only wants to go back. While many movie-style military men have voiced this desire, here it seems tragic. The horrors of the war have changed his sense of time and self; he no longer feels "at home" anywhere, much as Hank has also never been "home" with Joan or his son. The close shot of Ortiez's expression, sad and self-knowing, is more effective than the rest of the film's point-pounding.
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Our Editors Recommend
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