The 8 best war movies of the 21st century
War is hell. For most people, these eight extraordinary films will be as close as they ever get to it.
War remains an endemic human tragedy, and movies have long been one of the best ways to demonstrate its horrors to those who have never experienced it. With great power tensions rising in the real world, there has never been a better time for audiences to watch these films — if only to remind themselves of why peace is preferable to conflict.
‘Black Hawk Down’ (2001)
With the U.S.-led 1992-1993 intervention in Somalia struggling to relieve the country’s famine due to state failure, Major General Garrison (Sam Shepard) greenlights an operation to capture the warlord Mohamed Aidid in Mogadishu using U.S. Army Rangers dropped from helicopters. The operation goes awry when one of the Black Hawk helicopters is brought down and its crew, including Durant (Ron Eldard), killed or besieged. With journalist Mark Bowden’s book as the “guarantor of a horrendous authenticity,” director Ridley Scott’s film uses “immense technical skill and spectacular photography” to produce a gripping war film that has nevertheless justifiably taken criticism for its context-free depiction of Somalia’s plight, said Philip Strick at Sight and Sound. (Prime Video)
‘Letters From Iwo Jima’ (2006)
Famously conservative icon Clint Eastwood seems like an unlikely choice to make a subtitled film that takes the Japanese view of one of World War II’s closing battles seriously. But that’s exactly what happens in his magnificent “Letters From Iwo Jima,” which depicts the early 1945 American invasion of the strategic island and its airfields, which are about 750 miles from mainland Japan.
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Ken Watanabe is General Kuribayashi, who is tasked with defending the island from the impending American assault, and Kazunari Ninomiya plays Saigo, a soldier digging trenches on the beach until Kuribayashi shifts strategy and orders the construction of a network of tunnels and fortifications inland.
The film grapples movingly with how commanders and soldiers understood their predicament, including an unforgettable scene in which a number of soldiers commit suicide. Eastwood’s epic operates in a “poetic mode,” finding a place “where the limitations of a war movie start to vanish” and resulting in the “best of both worlds: an art house combat picture,” said Tim Brayton at Alternate Ending. (Prime Video)
‘The Hurt Locker’ (2008)
So far the definitive statement about America’s decade-long misadventure in Iraq is director Kathryn Bigelow’s deservedly lauded “The Hurt Locker.” Staff Sergeant William James (Jeremy Renner, in a career-making performance) is the team leader of an explosives disposal unit whose predecessor (Guy Pearce) gets obliterated by an IED in the film’s opening minutes.
James is a renegade constantly at odds with his rule-bound team, short-timers Sergeant J.T. Sanborn (Anthony Mackie) and Specialist Owen Eldridge (Brian Geraghty), who worry with some justification that James’ unorthodox, bespoke and often impulsive bomb-defusing tactics are going to get them all killed. A film that “doesn’t engage the politics of the war in Iraq per se,” it is a “totally immersive, off-the-charts high-anxiety experience from beginning to end,” said Amy Taubin at Film Comment. (Netflix)
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‘Waltz with Bashir’ (2008)
Based on his experiences as a soldier during Israel’s 1982 invasion of Lebanon, director Ari Folman voices his character as he interviews fellow veterans of the conflict — most of whom play themselves. The gorgeous, haunting animation allows the filmmakers to precisely recreate the Lebanese battlefield and grapple with the events that led to the infamous massacre of Palestinian refugees at the Sabra and Shatila refugee camp outside of Beirut at the hands of Lebanese Christian extremists. Simultaneously a “history lesson, a combat picture, a piece of investigative journalism and an altogether amazing film,” the result is a “work of astonishing aesthetic integrity and searing moral power,” said A.O. Scott at The New York Times. (Prime Video)
‘Hacksaw Ridge’ (2016)
Desmond Doss (Andrew Garfield) is a religiously devout pacifist who get drafted in 1942 and becomes an army medic but refuses to carry a rifle or engage in combat, drawing intense scrutiny from his peers and superiors in director Mel Gibson’s engrossing film. Based on a true story, “Hacksaw Ridge” follows Doss from childhood through the war, culminating in his heroic rescue of 75 soldiers during the Battle of Okinawa.
Buoyed by a searing performance from Garfield, the film was nominated for Best Picture at the Academy Awards — a triumph for Gibson, whose life and career had been mired in controversy for years. The film, “though corny at times, treads close to madness and majesty alike, and nobody but Gibson could have made it,” said Anthony Lane at The New Yorker. (Disney+)
‘Dunkirk’ (2017)
![Dunkirk - Trailer 1 [HD] - YouTube](https://img.youtube.com/vi/F-eMt3SrfFU/maxresdefault.jpg)
A structurally daring look at the miraculous evacuation of some 400,000 British expeditionary forces from France who were pinned down by German forces early in the war, “Dunkirk” marked director Christopher Nolan’s departure from his familiar science fiction and fantasy territory. The film is told from three perspectives: Tommy (Fionn Whitehead) is an infantryman making his way to the beach for evacuation; George (Barry Keoghan) joins the crew of an unarmed civilian trawler that heroically volunteers to help transport the fleeing forces; and Farrier (Tom Hardy) is an Royal Air Force pilot helping provide cover for the evacuation.
Unlike many ultraviolent war movies of the contemporary era, Nolan’s film “does not revel in realistic depictions of wartime death, with all its blood and viscera,” said Brian Eggert at Deep Focus Review. Instead, it creates an “impressive tribute to the survivors and the grand-scale efforts of the British people” during one of the country’s finest hours. (BritBox)
‘1917’ (2019)
![1917 - Official Trailer [HD] - YouTube](https://img.youtube.com/vi/YqNYrYUiMfg/maxresdefault.jpg)
Director Sam Mendes’ World War I drama is composed of long, unbroken shots assembled together by cinematographer Roger Deakins to give the illusion of being a “oner.” Late in the war, British Lance Corporals Will Schofield (George MacKay) and Tom Blake (Dean-Charles Chapman) are ordered by General Erinmore (Colin Firth) to carry a message to a British battalion warning them not to fall into a deadly trap that the seemingly retreating Germans have set for them.
Like “Saving Private Ryan,” it is essentially a road narrative, in which Schofield and Blake see the carnage of war along with the audience. A “ghost train ride into a day-lit house of horror,” the film conveys the “nihilist elation that comes with the moment-by-moment experience of survival, fiercely holding on to life with every eardrum-splitting sniper shot,” said Peter Bradshaw at The Guardian. (Netflix)
‘All Quiet on the Western Front’ (2022)
Though it divided critics, director Edward Berger’s bold, bleak and propulsive adaptation of Erich Maria Remarque’s groundbreaking 1929 novel more than serves its purpose as a fierce statement against war. It opens cleverly with the journey of a German uniform, stripped from a dead infantryman and sent to be cleaned, repaired and rehomed onto Paul Baumer (Felix Kammerer), an idealistic volunteer pumped full of nationalist propaganda about adventure and brotherhood and thrust instead into an unceasing and pointless nightmare of trench warfare, deprivation, suffering and death. The “vast machinery of total war has rarely been depicted as viscerally or as coldly” as in Berger’s film, which “almost wades into horror territory, helped in no small part by the booming, anachronistic synths of Volker Bertelmann’s score,” said John Nugent at Empire. (Netflix)
David Faris is a professor of political science at Roosevelt University and the author of "It's Time to Fight Dirty: How Democrats Can Build a Lasting Majority in American Politics." He's a frequent contributor to Newsweek and Slate, and his work has appeared in The Washington Post, The New Republic and The Nation, among others.