If you opened up a movie trade publication or read a movie-focused blog between October 2007 and February 2008 the odds are good you saw at least one story about how the massive influx of Iraq War-themed films that were being released (The Kingdom, In the Valley of Elah, Rendition, etc) were not only all failing but were causing havoc in the independent film world.
Their less than fantastic box-office success was not always attributable to the quality of the movie. Nor was it always to do the audience’s perceived lack of interest in movies about our current military situation. But these were easy journalistic hooks on which to hang a story and so became part of our entrenched conventional wisdom.
Indeed there were some high-quality films released about this subject matter in the last year or so that are deserving of a broader audience. But release patterns don’t always line up with audiences. That’s why the appearance of films such as Heavy Metal in Baghdad on distribution sites like SnagFilms (a Spout partner) is so important: by flattening the distribution field to allow for anywhere, anytime viewing, the audience (at least that portion of it that’s tuned into online viewing, a percentage that’s growing steadily) can find movies that will interest them regardless of whether or not it’s playing at their local multiplex.
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I’ve always been conflicted by my hatred for war and my love for war films. But I can’t help being excited by cinematic combat. As Miguel Ferrer says in Hot Shots! Part Deux, “War … it’s fantastic!” Certainly his character is referring to the real-life action, but in a reflexive way he’s talking about war on film (he does break the diegetic space when he utters the statement, after all). And I have to say, in that context, no war film in recent years has been as fantastic as Nick Broomfield’s Battle for Haditha, which opened in New York yesterday.
The difficult thing about war films is that, despite often being exciting action movies, they’re about real, tragic situations, even if they’re fictional stories set in an actual war (the opening of Saving Private Ryan is of course the epitome of war films’ ability to be at the same time both affecting and awesome). Broomfield’s film has the additional difficulty of being about a real battle from a war that is still going on. And of course there’s that whole problem of Iraq War films being box office poison lately. But if the viewer is able to forget all that stuff, there’s a chance he or she will find Battle for Haditha totally exhilarating.
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Iraq fatigue: the conventional wisdom settled on in the last year that nobody wants to go to a movie theater for an Iraq war movie (most recently: Stop-Loss). Is it a new phenomenon or are all movies questioning war during wartime doomed to financial failure?
The new Wholphin quarterly DVD magazine is out. It’s probably the best curated source for short films outside a major festival and we give it the attention its due on FilmCouch.
FilmCouch 64
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