This is one of the few times I’ve begun writing here immediately upon finishing a film, rather than pausing and giving reactionary observations about the feature. A film featuring John Cena is certainly one you wouldn’t expect for me to be writing about and it certainly wasn’t one I anticipated watching, upon finally taking heed of my friend’s advice and actually watching it.
In ‘The Wall’ there’s so much at play psychologically – and considering just how dead-set the terrain is, there’s a lot of action, for a film exhibiting modern warfare, or the outcome of it. As much as I don’t like to focus on the news, politics, or anything even somewhat relevant to real reality.
I’ve always found that there has been little out there that compares to the likes of Jarhead and The Hurt Locker in recent times. I remember watching The Green Room when I was younger, although I’m not sure if I thought it was good or bad.
As averse as this blog is in regard to writing about film synopses and specific story elements, the two opposing snipers (or spotters) at play in this movie are so deeply characterized for a film with a runtime of only ninety minutes, with so many sophisticated elements regarding psychological warfare and social engineering coming as a great surprise to me, even now as I write about it in retrospect.
This is not a film that glorifies either side of the conflict and nor does it play down the intelligence of the opposition. I remember writing a university assignment on why American Sniper sucked (sue me) and The Wall is certainly not a film that falls under such a caliber if I’m to attempt to make a play on words here.
That doesn’t mean to say that the ghostlike enemy in this movie is presented with many redeeming qualities, but he is certainly presented with some fearsome, malevolent, and tactical qualities that you almost have to admire in the sort of movie where American troops always come out on top. In reality, this film might be one that actual soldiers have more respect for, with the educatedness of the adversary being so very callous – yet somehow justified.
The dialogue was excellent and everything about this movie was impressive to me. It felt like it lasted for a longer duration than it was, yet I wished it went on for much longer – but perhaps that is the point; especially in the climate many unfortunately find themselves in today. The technological manipulation and the sense of the soldiers being truly trapped within enemy soil, rather than seamlessly infiltrating it was excellent – and I can’t say much more without ruining the plot.
Plex displayed the audience score of this one as being at 44%, with a higher critical appraisal, however…I think this film deserves a lot more praise for being as omnidirectional and unsettling as it is. I’m choosing my words carefully, as I don’t like to talk too much of realities I can’t truly empathize much about.
‘Juba’, the elite sniper they’re faced up against is one of the most impressive villains I’ve seen depicted in a film like this – and that’s saying something – not that he’s all that likable, but it’s necessary that films of this nature don’t depict opposing forces as imbecilic meat shields…and that is something The Wall definitely does not do.
So many things are brought into question and occasionally answered throughout these ninety minutes and all I can say is that it’s fucking underrated, it’s not a film you can go back and watch your most favored clips of, either, it’s an all or nothing presentation and it removed a lot of the weight my current collection of media is imposing on me emotionally.
I’d actively encourage everyone to watch this, even those of you who think I’m just a pretentious prick writing about art house films to impress scene girls. Thanks for the recommendation and bits of plastic/dinnerware, my friend(s).