For many filmgoers, the prospect of a new Alex Garland movie is a tantalizing event. That the British novelist/writer/director (‘The Beach’, ‘28 Days Later’, ‘Ex Machina’) decided to make a movie about a contemporary American ‘Civil War’, is both intriguing and confounding at the same time. There’s always been a foreboding sense of controlled nihilism to his work, fueled by overriding lessons in the futility of human connection.

The finished product is told from the perspective of journalists, most prominently two female photojournalists played by the brilliant Kirsten Dunst (doing so much physically with her eyes and face) and up and coming young actress Cailee Spaeny (‘Priscilla’). The choice to base the road trip narrative around the press, who actively and purposefully detach themselves from any political ideals is an indication that Garland is not really interested in the American ‘Red State / Blue State’ dichotomy, but rather an impersonal commentary on human fixation with senseless violence. In taking this approach, the audience is unable to latch onto any sense of overarching drama beyond the immediacy of what the movie is immersing viewers in. This is intentional but has an almost numbing effect, subverting any sense of attachment to any particular perspectives and dulling much of the expected anxiety of the premise.

The filmmaking on display in ‘Civil War’ is some of the most assured and accomplished that both the director and studio A24 have released so far. It’s powerhouse stuff, sure to keep people interested and riveted, juxtaposing familiar dystopian imagery alongside the beauty of the natural world. As the main characters make their way from NYC to DC via a circuitous path around clogged highways and burnt out towns, there does seem to be an interrogation of journalistic motivation. Rounding out the cast as reporters are Wagner Moura (fresh off a memorable turn in ‘Mr.&Mrs. Smith’) and Stephen McKinley Henderson, one drawn to conflict like a moth to a flame, and the other who can’t quite stop chasing the story despite being physically restricted. These four characters may have been presented heroically in another film, and at times they are here as they bravely document events , though mostly it’s revealed that they thrive on conflict while convincing themselves that what they are doing transcends their own personal safety. Basically they are adrenaline junkies getting off on others pain while sacrificing elements of their humanity in the pursuit of ‘truth’, yet remaining neutral.

These are all extremely interesting themes and ideas to ponder, particularly after experiencing the movie, but actually watching it leaves the viewer with a sense of futility and resignation. While there are real moments of power, beauty, and horror, and some killer needle drops (including an upbeat De La Soul toe-tapper about the perils of drug addiction, expertly chosen over the aftermath of a particularly fraught shootout), there is also an overall empty feeling left over. It’s evident that Garland’s intention was to entice with a prescient perspective on what could happen in this country if we keep up this extreme adversarial nonsense, but then use this chance to make an anti-war movie. Unfortunately, or maybe proactively motivating, the film provokes a desire as someone living in today’s America to go out and buy some guns . . .

Written & Directed By: Alex Garland

Running Time: 109 min.

Rated: R

* * * (out of 4 stars) – OR – B