Review: American Sniper

Something happened to the American war film in the 1980s. In a similar way to the revisionist Westerns of the early 1970s, the depiction of war and warriors in American cinema swung from cartoonishly brawny superheroes spouting jingoistic slogans, to thoughtful examinations of the American military that emphasised realism over romanticism. American Sniper is happily in the latter camp and, like The Hurt Locker, also manages to be a compassionate study of character that many audiences will feel at home with.

Like much of Eastwood’s other work, American Sniper wants us to know the hero from the inside out. It’s based on the autobiography of a man most New Zealanders haven’t heard of, Chris Kyle – “the most lethal sniper in US history”. We meet him as a young boy, already a dead-eye dick with a hunting rifle. He’s branded a “sheepdog” by his father – a protector of the innocent – ever since he bloodied the nose of his brother’s bully in the school yard. We then follow Kyle through four tours of duty in Iraq, during which his growing internal conflict between his duties as a husband and father, and as an uncompromising military professional, brings him to breaking point.

A film like this lives or dies on the strength of its lead. The film’s six Oscar nominations (in addition to Best Picture) include Best Actor for Bradley Cooper as Kyle. His is an entirely sympathetic and believable performance that explores Kyle’s military professionalism, but also his alienation and torment. If he wins the Oscar it’d be thoroughly deserved. Sienna Miller makes the most of a fairly clichéd role as Kyle’s wife, who provides the anguished reminders of the lives of the family Kyle forsakes in favour of those on the battlefield.

Clint Eastwood’s directorial arsenal includes the rare ability to effortlessly manipulate an audience’s emotions. In his hands we feel keenly the ethical dilemmas Kyle faces, and the brand of American patriotism on display here (that most will recognise post-September 11) is unforced and easily digested. The taut, riveting battle sequences are artfully punctuated with just enough introspection to provide a sense of perspective. The film feels more grave and profound than it deserves to, such is Eastwood’s skill.

Not everything rings entirely true – the plot contrivances show in places and a key moment in the film looks like it was stolen from The Matrix – but fortunately the director’s steady hand and the strong performances of the leads transcend the material.

It’s an exciting and effective tale that feels, mostly, real.

7.5/10

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