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‘Korengal’ explores effects of war Film provides gripping images of firefights

NEW YORK, June 2, (RTRS): Director and writer Sebastian Junger took audiences into a combat zone with US soldiers in Afghanistan in his first documentary and goes a step further in “Korengal,” delving into their psyche to explore the experience and effects of war. The film, which opened in New York on Friday and across the United States in June and July, is a follow-up to his 2011 Oscar-nominated film “Restrepo,” which chronicled the lives of US soldiers defending a hilltop outpost in the Korengal Valley, one of the most dangerous places in Afghanistan. Junger also wrote about his experiences in his 2010 book titled “War.” In “Korengal,” Junger questions members of Battle Company, part of the Second Battalion of the 503rd Infantry Regiment and the 173rd Airborne Brigade Combat Team, about fear, bravery, camaraderie and adrenalin rushes during combat. The soldiers also admit that despite counting the day until they can leave, they will miss the war and want to go back.

“One of the things I wanted to communicate with this film is that combat is a lot of things. It is not just one thing. It is very exciting for everybody. It is very scary for everybody. It is incredibly meaningful. It is very, very sad if you stop and think about what you are doing,” Junger said in an interview. “That mix is morally confusing to soldiers but also quite intoxicating,” he added. “It really does get down to wanting to go back over and over again for more.” Junger, 52, co-directed “Restrepo” with British-American photojournalist Tim Hetherington, using material gathered while the two were embedded with the combat team in Afghanistan from May 2007 to June 2008. The film, which had no musical score or narration, provided gripping images of firefights the soldiers encountered almost daily in the remote Korengal valley, an important passage used by the Taleban and al-Qaeda fighters.

In 2011, Hetherington was killed while covering the Libyan civil war. After his death, Junger completed the second-part of the project, picking up where “Restrepo” left off, examining the impact of combat on soldiers.
“It is a film about the emotional experiences of war and its consequences,” said Junger, author of the best-selling book “The Perfect Storm: A True Story of Men Against the Sea,” which was made into a 2000 feature film starring George Clooney. Junger said the love-hate relationship with war dates back to ancient times. Soldiers miss the doses of adrenaline, the urgency and the brotherhood that exists in a small combat unit. “I think a journalist’s job is to represent reality truthfully. If that is one of the reactions that men have in combat, I think it should be portrayed and understood,” he said. “My hope was that if the soldiers understood their experience a little better, civilians might also and that both of those things would help in the process of reincorporating almost 3 million combat vets back into society back home.”

A textbook “doomed teenager” movie setup that veers promisingly into “District 9” territory, director William Eubank’s “The Signal” aims for something beyond the current cinematic landscape, but doesn’t quite reach the desired frequency. Working from a script he co-wrote with Carlyle Eubank and David Frigerio, director Eubank cleverly assembles a scrappy sci-fi adventure out of familiar horror-movie parts. But a game performance by Brenton Thwaites (“Maleficent”) in the lead role eventually outpaces the provocative central mystery, stylishly driving the audience toward a resolution that lacks equivalent substance. Thwaites plays Nic Eastman, a computer-whiz MIT student who’s driving his girlfriend Haley (Olivia Cooke, “Bates Motel”) across the country, with his pal Jonah (Beau Knapp) along for the ride.

In between awkward conversations about the future of his relationship with Haley, Nic discovers the whereabouts of Nomad, a mysterious hacker who nearly got him and Jonah expelled. But after taking a detour to expose their online adversary, their search is interrupted by an unseen assailant whose attack lands them in the custody of Wallace Damon (Laurence Fishburne), a doctor who seems to offer more questions than answers. Despite Beau Knapp’s best efforts to deliver expository dialogue about Nic’s relationship with Haley in a conversational way, the opening of “The Signal” feels too much like what it is: a set-up for what’s to come. Even when Nic and Jonah venture into a dilapidated hovel to search (with a dodgy flashlight, of course) for the guy they’ve threatened online, these seemingly obvious creative choices are merely misdirection, a prelude before the script’s “real” ideas kick in.

Of course, the relative originality of those ideas may or may not be any more appealing to audiences than what preceded them, but at the very least those early moments of “oh, I know what kind of movie this is” from viewers are eventually proven false. As a director, Eubank (whose previous feature was the low-budget “Love”) has a natural gift for composition and utilizes a clean, vivid color palette that amplifies the bumps and bruises that the characters endure as they fight for their freedom inside the nondescript, clinical walls of the facility where they’re being held. Simultaneously, he uses his actors either imagistically or metatextually: the three leads embody their respective roles — hero, girlfriend, sidekick — almost deliberately as archetypes, while Fishburne trades on the gravitas of his past performances to offer a clear-eyed, authoritative counterpart who, perhaps not unlike Morpheus in “The Matrix,” challenges their naive ideas about the world around them.

Although the film’s ultimate payoff feels a little too big, and too insufficiently explained, to justify all of the obfuscation that led up to it, the script keeps the audience engaged and guessing right up to the end. Eubanks’ skill as a filmmaker seems commensurate with the impact of his story; his work here is higher-minded than mere low-budget viscera, but not as thoughtful, or thought through, as the material of budding auteurs like Neill Blomkamp or Rian Johnson. Nonetheless inspiring, even as its reach ambitiously exceeds its grasp, “The Signal” is a calling card heralding the arrival of a promising new talent who offers a welcome rejoinder to small-scale formula; it’s consistently engaging genre fare, especially when it keeps you guessing which genre it’s exploring.

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