Civil War

Ulkar Alakbarova

2 years ago

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In the near future, a group of war journalists attempt to survive while reporting the truth as the United States stands on the brink of civil war.

Credits: TheMovieDb.

Film Cast:

Lee: Kirsten Dunst
Joel: Wagner Moura
Jessie: Cailee Spaeny
Sammy: Stephen McKinley Henderson
Tony: Nelson Lee
President: Nick Offerman
Dave: Jefferson White
Bohai: Evan Lai
Concierge: Vince Pisani
American Soldier (Middle East): Justin James Boykin
Checkpoint Soldier: Jess Matney
Pete: Greg Hill
Eddie: Edmund Donovan
Anya: Sonoya Mizuno
Hanging Captive: Tim James
Commercial Soldier Mike: Simeon Freeman
Commercial Corporal: James Yaegashi
Commerical Soldier #1: Dean Grimes
Aid Worker Refugee Camp: Alexa Mansour
Elderly Woman: Martha B. Knighton
Shop Assistant: Melissa Saint-Amand
Spotter: Karl Glusman
Sniper: Jin Ha
WF White House Sergeant: Jojo T. Gibbs
WF White House Assaulter #1: Jared Shaw
WF White House Assaulter #2: Justin Garza
WF White House Assaulter #3: Brian Philpot
WF White House Assaulter #4: Tywaun Tornes
Joy Butler: Juani Feliz
Militia Soldier (uncredited): Jesse Plemons
SFC Brown (uncredited): Jeff Bosley
WF Marine (uncredited): Ryan Austin Bryant
Injured Marine (uncredited): Brent Moorer Gaskins
Secret Service Agent (uncredited): Evan Holtzman
Dying Refugee (uncredited): Cora Maple Lindell
Refugee (uncredited): Temper Lavigne
Brooklyn Protester (uncredited): Miles Johnson
Western Forces Marine / Flag Detail (uncredited): Kevin Kedgley
Soldier (uncredited): Timothy LaForce
Soldier (uncredited): Randy S. Love
Soldier (uncredited): Cody Marshall
Female Army Soldier (uncredited): LePrix Robinson
Marine (uncredited): Easy Ian Radcliffe
Riot Police / Army Soldier (uncredited): Ernest ‘Scooby’ Rogers
Guard Marine (uncredited): Daniel Patrick Shook
US Marine (uncredited): Vinnie Varon
War Journalist (uncredited): Jaclyn White
Marine (uncredited): Robert Tinsley

Film Crew:

Producer: Andrew Macdonald
Producer: Allon Reich
Producer: Gregory Goodman
Writer: Alex Garland
Director of Photography: Rob Hardy
Editor: Jake Roberts
Production Design: Caty Maxey
Art Direction: Mark Dillon
Art Direction: Jason Vigdor
Set Decoration: Lizbeth Ayala
Costume Design: Meghan Kasperlik
Key Hair Stylist: Deena Adair
Makeup Artist: Alex Breijak
Hairstylist: Crystal Broedel
Makeup Department Head: Ashley Levy
Hair Department Head: Amy Wood
Special Effects Coordinator: Lee Alan McConnell
Special Effects Supervisor: J.D. Schwalm
Pyrotechnician: Mike Prawitz
Visual Effects Producer: Michelle Rose
Stunt Coordinator: Jeffrey J. Dashnaw
Stunts: Janelle Beaudry
Stunt Double: Christian Brunetti
Stunt Double: Luis Fernández
Stunts: Jeff Galpin
Stunt Double: Tyler Galpin
Stunt Double: Crystal Hooks
Stunts: Remington Steele
Stunts: Ryan Staats
Stunts: Felipe Savahge
Stunts: John Santiago
Stunts: Dalton Rondell
Stunts: Adam Rivette
ADR Recordist: Jennie Shea
Foley Editor: Robby Brown
Foley Artist: Zoe Freed
Sound Effects Editor: Danny Freemantle
Sound Designer: Glenn Freemantle
Sound Effects Editor: Nick Freemantle
Foley Mixer: Glen Gathard
Dialogue Editor: Naomi Graham
Foley Artist: Rebecca Heathcote
Sound Effects Editor: Dayo James
Sound Effects Editor: Robert Malone
Dialogue Editor: Ian Morgan
ADR Mixer: Chris Navarro
Costume Supervisor: Stephanie Logan
Best Boy Grip: Richard Arnold
Lighting Technician: William Justin Aycock
Electrician: Zach Beahan
Dolly Grip: Kelly R. Borisy
“B” Camera Operator: Hugh Braselton
Lighting Technician: Coy Breaux
Grip: Michael Cape
Still Photographer: Murray Close
Rigging Grip: Sam Coody
Rigging Gaffer: Brian Dennis
Video Assist Operator: Fred Duffer
“C” Camera Operator: Chris DuMont
Dolly Grip: Mike Flores
Rigging Grip: Stoy Fulcher
Aerial Director of Photography: Dylan Goss
First Assistant “B” Camera: Daniel Guadalupe
Second Assistant “C” Camera: Grayson Guldenschuh
Second Assistant “A” Camera: Matthew Haskins
Gaffer: Todd Heater
Rigging Grip: Jeremy Hereford
Rigging Grip: Nicole Higgins
Additional Grip: Mat Irby
Camera Technician: Breona Jones
Grip: Stephen Lamb
First Assistant Camera: Jason Lancour
Lighting Technician: Bruce Leefook
Lighting Technician: Joseph Mason
Video Assist Operator: Adam Meadows
Lighting Technician: Dehaven Moore
Rigging Grip: Tony Murima
Drone Pilot: Louie Northern
Electrician: Beaux Petit
Key Grip: Mackie Roberts
Grip: Tori Roloson
Grip: Logan Russell
Electrician: Terrance Smalls
Focus Puller: Don Steinberg
Camera Operator: David J. Thompson
Rigging Grip: Rick Turner
Assistant Chief Lighting Technician: Jeff Wallace
Casting Assistant: Kaley Boerneke
Extras Casting: Yasmeen Griffin
Extras Casting: Laura Mengoni
Set Costumer: Stacia P Clarke
Costumer: Madison Divergilio
Costume Coordinator: Kassia Dombroski
Costumer: Brianne Freeman
Set Costumer: Megan Fudge
Set Costumer: Benj Gibicsar
Costumer: Emily Good
Assistant Costume Designer: Jennifer Hryniw
Tailor: Jared B. Leese
Dailies Operator: Chelyse Abrams
First Assistant Editor: Jens Baylis
Digital Intermediate: Johnathan Wei Dickinson
Dailies Operator: Heidi Jacobo
Online Editor: Gareth Parry
Digital Intermediate Producer: Alan Pritt
Dailies Operator: Noah Rodden
Assistant Editor: Sam Shelton
Digital Intermediate Colorist: Asa Shoul
Assistant Editor: Saffron Weaver
Location Production Assistant: Austin Armstrong
Location Scout: Andrew Devlin
Location Assistant: Lindsay Henefer
Assistant Location Manager: James Billy Hill III
Assistant Location Manager: Lowell Lambert
Assistant Location Manager: Hana Lowe
Location Manager: Kellie Morrison
Assistant Location Manager: Melissa Mortensen
Assistant Location Manager: Cherie New
Location Assistant: Alex Olino
Assistant Location Manager: Angeline Santivasci
Location Coordinator: Daniel Sortet
Assistant Location Manager: Jeff D Williams
Assistant Location Manager: Michael Woodruff
Music Supervisor: Simon Astall
Music Editor: Rachel Park
Script Supervisor: Amber Harley
Makeup Artist: Natasha Negron
Makeup Artist: Alex-Michael Petty
Makeup Artist: Carla Wallace
Post Production Consulting: Clare St. John
Unit Production Manager: Kenneth Yu
Second Assistant Director: Craig Comstock
Production Assistant: Chayse Banks
First Assistant Director: Eric Heffron
Second Second Assistant Director: Gregory Santoro
Scenic Artist: Suzanne Bonanno
Set Decoration: Darby Abraham
Set Dresser: Dan Branciforti
Assistant Property Master: Lawson Bruen
Set Dresser: Brett Fahle
Construction Coordinator: Christopher Ferris
Leadman: Nelson Hagood
Props: Kelly Harrell
Art Department Assistant: Madelyn Kahn
Art Department Coordinator: Pike Kanjanampa
Armorer: Tyrone Lee
Assistant Art Director: Alexander Linde
Storyboard Artist: Jim Magdaleno
Set Dresser: Emily Minnick
Assistant Art Director: Brynna Norvell
Armorer: Dan Riker
Property Master: John Sanders
On Set Dresser: Brian Calvin Smith
Set Dresser: Zack Timms
Set Designer: Willow Watson
Supervising Sound Editor: Ben Barker
ADR Recordist: Jennie Breckenridge
ADR Editor: Gillian Dodders
Driver: Chico L. Jones
Driver: Charles Skip McCoy
Transportation Coordinator: Huelon F. Thrift Jr.
Production Assistant: Hannah Brunner
Post Production Accountant: Tarn Harper
Production Assistant: Carson Hicks
Production Assistant: Justin Holt
Assistant Production Coordinator: Jenny Kissoon
Production Assistant: Samantha Krupica
Production Assistant: Grant Lafferty
Casting Assistant: Jakaila Langston
Production Assistant: Travis Meguire
Production Assistant: Margaret Moore
Production Secretary: Josh Melo
Production Coordinator: Marjorie Rudick
Title Designer: Matt Curtis
Technical Advisor: Ray Mendoza
Original Music Composer: Geoff Barrow
Original Music Composer: Ben Salisbury
Executive Producer: Elisa Alvares
Executive Producer: Timo Argillander
Special Effects Technician: Landon K. Smith
Special Effects Technician: Jeremy Zamora
Special Effects Technician: Frederick Mac Browne
Visual Effects Producer: Austin Aplin
VFX Artist: Lee Barraclough
VFX Artist: Anthony Lowe
VFX Artist: Fraser Murdoch
VFX Artist: Alex Rabbitt
Visual Effects Supervisor: David Simpson
VFX Artist: Artem Smirnov
Casting: Francine Maisler
Stunts: Dylan Hice
Stunts: Justin Hall
Stunts: Linda Kessler
Stunts: T. Ryan Mooney
Stunts: Chris Romrell
Stunts: Randy James Beckman
Stunts: Sean Paul Braud
Stunts: Brandon Beckman
Stunts: Gianni Biasetti Jr.
Stunts: Branden Arnold
Additional Second Assistant Director: Alex Martini
Executive In Charge Of Production: Corey Deckler

Movie Reviews:

Manuel São Bento: FULL SPOILER-FREE REVIEW @ https://talkingfilms.net/civil-war-review-a-thought-provoking-dive-into-war-journalism-and-moral-complexity/
“Civil War attests to Alex Garland’s fascinating ability to create impactful narratives that provoke deep discussions, beyond his unwavering commitment to the themes and characters at hand, without falling into preachy stances.
A film that transcends political boundaries, focusing on war journalism, the moral dilemmas faced by those who risk their lives to tell stories that cannot be ignored, and the personal transformation necessary to carry out such an inhuman task. The character complexity and the chilling intensity of the cinematography and sound production contribute to a powerfully engaging, repeatedly shocking audiovisual experience.
It’s a tribute to a profession often forgotten, but equally a challenge for viewers to reflect on critical issues in contemporary society.”
Rating: A-
r96sk: Terrific movie!
‘Civil War’ is a blast from beginning to end, I enjoyed everything about it to be honest. It features an interesting story that is told with excellence. My biggest takeaway is the sound design, which is outstanding; literally from the first seconds post-BBFC black card.
It is paced absolutely spot on, the end comes around so quick; probably because I was hooked. The cast do great jobs. Obvious credit to Kirsten Dunst, Wagner Moura and Stephen McKinley Henderson, they are all ace. Cailee Spaeny is my personal standout though, what an excellent showing from her!
Engrossing viewing. Highly recommended. Very much want to rewatch it already.
CinemaSerf: Nope, sorry, this just didn’t work for me. It appears that there is a civil war amongst these United States. California and Texas have seceded from the Union and Florida seems to be having a wobble too. The President (Nick Offerman) makes a speech assuring the rest of his country that they’ve nothing to worry about, but hardened photo-journalist “Lee” (Kirsten Dunst) and her cohort “Joel” (Wagner Moura) reckon that the conflict is quite likely to come to an altogether different conclusion. They bravely decide to travel the 800-odd miles to Washington DC to try and interview him. Their out-of-shape veteran associate “Sammy” (Stephen McKinley Henderson) thinks they are mad, but also wants in on the trip. Meantime, the enthusiastic young photographer “Jessie” (Cailee Spaeny) has managed to hook up with the team and so, rather implausibly, they agree to take her on this perilous journey. It’s that implausibility that carries the whole thing as the completely preposterous scenario unfolds before us. No effort is made to fill us in on the cause of this warfare. Did the President seize power? Was he elected from a party these states didn’t vote for? Are they just brutal and well armed revolutionaries? Then we have the ridiculous dialogue – usually from Henderson with his “always take fuel when you can” or “this way only leads to death” type profundities as the group travel through a remarkably stable, well fuelled and provisioned, nation where there’s hardly the merest hint of mass migrations, fear or terror. Indeed, their blue “Press” helmets and a little bit of kevlar seem to render them immune to the deadly drama that they are supposed to be experiencing. Jesse Plemons makes a brief appearance – that actually leads to the only vaguely exciting part of this chronology, but otherwise it’s all a bit on a non-event. Dunst starts off as a strong and characterful woman but that dwindles away and, well, I was just a bit bored as the denouement hoved into view with all the predicability of the sun coming up. It’s bitty, episodic, unrealistic and populated with characters in whom I simply could not believe. Sure, maybe it’s supposed to be outlandishly apocalyptic, but it reminded me for the most part of an episode of “Falling Skies” – only without the aliens. Perhaps it might resonate better with an American audience? I’m not one of them and this didn’t.
Brent Marchant: Cautionary tales often have some of the most significant impact when brought to life on the big screen, and that’s certainly the case with the latest offering from writer-director Alex Garland. The filmmaker’s gripping tale of a quartet of journalists (Kirsten Dunst, Wagner Moura, Stephen McKinley Henderson, Cailee Spaeny) covering a civil war in a dystopian version of America of the near future follows the reporters as they make their way from New York to Washington via a circuitous route that shows them all sides of this nightmarish scenario. Essentially a road trip film, “Civil War” provides the principals and viewers with an array of images and situations graphically depicting what’s left of the US as a distraught population attempts to make sense of the circumstances and find ways to survive. The purpose of the protagonists’ journey is to secure an interview (likely the last one) with a corrupt, egomaniacal President (Nick Offerman) as rebel forces close in on the capital. They set out on this treacherous odyssey despite the dangers involved both in making the trip and in their roles as journalists, who are looked on with suspicion and have been accused of fanning the flames of the hostilities. While some have complained that the film doesn’t provide enough social and political background about the conflict, I submit that this consideration is fundamentally unnecessary: Garland is making an unadulterated statement here that, when the bullets start flying, ideology won’t matter and no one will care, a point driven home with chilling clarity over and over. The madness that consumes the population is all that’s important at that juncture, one driven by bald-faced hostility on steroids both among the combatants and the overzealousness of the reporters in seeking to “get the story,” no matter what. In achieving this end, the filmmaker holds nothing back, making this an often-difficult watch, one definitely not for the squeamish or faint of heart. But the picture’s message is one of grave importance, especially in today’s trying, polarized climate. We’d be wise to pay attention to what’s being said in this important work, handily the best – and most troubling – release of 2024 thus far.
edrddz: The film, although set in a context of armed conflict, deviates from the traditional war theme to focus on war photojournalists, promoting a perspective on the work of such professionals. Through a series of small scenes, the director seeks to compose a portrait of these professionals’ actions on the battlefield without declaring the reasons for the war or identifying the sides involved.
Each scene, individually, is well-executed, standing out for the quality of cinematography and an immersive sound work that amplifies the tension. However, these scenes, although effective individually, fail to come together cohesively. The result is a film that seems less than the sum of its parts. The main problem with the film is a lack of depth.
Although technically well-produced, particularly in terms of audio, the film falls short of a deeper approach, which could have elevated it from a mere display of impactful scenes to a truly impactful work.
MovieGuys: In spite of its pretensions, Civil War is essentially a derivative affair filled with calculatedly disturbing visuals and violent exposition.
Character development and a functioning back story are largely absent, from Civil War. This is an exposition driven road trip from hell, with a nihilistic objective, that plays out to a predictable conclusion.
That does not really leave a lot, for the viewer, to take away from this film. A film which should have a lot to say but is, instead, conspicuously silent. Perhaps this is a reaction to the climate of division and fear that exists in the USA today? That said, why make a film about something contentious, if you have nothing contentious to say?
In summary, this film really needed to be more opinionated, even if that means offering up opposing perspectives. Instead, it offends no one (as is the norm these days) by saying little to nothing, of any real consequence.

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