Review of The Messenger (2009) by Sarah S — 28 Aug 2010

When it comes to the Middle East conflict films that were released last year - from THE HURT LOCKER to STOP-LOSS to GREEN ZONE to BROTHERS - THE MESSENGER should have been the most original, intriguing, and powerful.

It is original, but it unfortunately is not intriguing or powerful.

It's not the story that weakens the film. It actually shows a side of the military that is not often given the spotlight - the notification of families of the fallen. The Vietnam era-based film WHEN WE WERE SOLDIERS briefly showed the power and pain of these notifications. Even the brief scene in A LEAGUE OF THEIR OWN captured how devastating it is for someone to have a military officer show up to report to report the demise of their loved one serving.

THE MESSENGER focuses on two military officers whose duty is to notify families of the demise of their husband or child who is serving in the army. Ben Foster is the young recruit who has come home having been injured in the war. He finishes his tour of duty serving with Woody Harrelson, who plays the veteran officer that mentors Foster in how to professionally and properly behave when visiting these families. In typical character-based stories involving the mentor and the student, the two clash at first but later learn to respect each other.

The story is intriguing in that it shows different scenarios and situations in which Foster and Harrelson must deliver the message of death to these families. The weakness in the story surrounds Foster's character, who endures yet learns from each experience but also has his own demons - his inability to maintain a relationship beyond sex with his "lover" (Jena Malone). He also inevitably breaks the rule set by Harrelson to never touch the N.O.K. - the next of kin.

The strength of this film is the acting of Harrelson, who is becoming one of most talented transformational actors currently featured in film. Harrelson has transcended from the lovable goof he played on CHEERS, the cocky jock from mid nineties with films such as WHITE MEN CAN'T JUMP, and even the overacting he displayed in NATURAL BORN KILLERS. He displays the acting talent he first showed in THE PEOPLE VS. LARRY FLYNT. He has become more like his LARRY FLYNT co-star Edward Norton in that he can capture the nuance and eccentricities of a role superbly. In this film, Harrelson convincingly portrays the hardened, Texan veteran military officer in a straightforward manner that is acceptable, entertaining, and well deserved of his Oscar nomination last year.

Ben Foster is the true disappointment in this film, He is a young Sean Penn-wannabe whose resemblance to the actor is more physical than talented. His brooding is not moving or poignant but rather ineffective and detached. His acting is not only detracting but also weakens the story, specifically the plot points that surround him, which are numerous considering he is the main character. Foster often plays the tormented soul in his films - even when he played the winged mutant Angel in X-MEN: THE LAST STAND - but the problem is his torment often comes off as weak and whiny. Perhaps Foster will improve with age as Pen did. However, the difference between Penn and Foster is that Penn showed his talent early in his career while Foster is still needing that role that could showcase his potential.

Another shining star in the film is Steve Buscemi, who plays the enraged father of a son who has been killed in action. Of all the N.O.K. who are notified of their loved one's demise, his is the most raw yet natural. The others are stereotypical reactions one would expect from someone after receiving such news - the screams, the sobs, the vomiting, the dialogue of "You're-not-supposed-to-be-here-get-out-of-my-houseI" While Buscemi's reaction is powerful, it is weakened only by the poor acting of Foster, whose character's first assignment is to inform Buscemi of his son's demise.

As with a number of the Middle Eastern conflict films, THE MESSENGER does become preachy toward the end when Foster recounts his experience overseas and Harrelson compares this military conflict to past wars. Instead of making obvious statements through dialogue, THE MESSENGER would have been more effective if they followed the route of THE HURT LOCKER or BROTHERS by making the plot and the action define the message this film has about the Iraq War.

THE MESSENGER is worth viewing in that it does show a side of the military not often seen on film beyond 5 to 15 minutes of a realistic war picture. Harrelson and Buscemi also make the film enjoyable and entertaining. It is those two aspects that make this film bearable to view and tolerable to watch Foster brood his way through another film.