Review: ‘The Messenger’ Is A Visceral Knockout

Incredibly visceral, gripping and yet compassionate in its quiet way, Oren Moverman’s “The Messenger” featuring remarkable performances by Ben Foster, and Samantha Morton and a particularly extraordinary Woody Harrelson, is an arresting and very humanizing portrait of post-war soldiers trying to adapt to life after Iraq — saddled with perhaps the most emotionally difficult job an officer can face.

Calling it “Iraq” anything is also largely unfair, considering that label can be a near kiss of death to any film these days, but it does tell the story of an American soldier (an uncannily good Foster) who has returned from duty in the Middle East. Psychologically distressed and out of sorts as it is, and only weeks away from fulfilling his duty, he is then assigned a detail to be a next-of-kin messenger to those whose children have died in Iraq. Alongside an older blunt and brusque Lieutenant (Harrelson) who teaches him the inhuman and distant rules and ropes of NOK (next of kin) death notification, Foster’s Staff Sergeant Will Montgomery struggles deeply with the responsibility and weight of bearing such tragic news to unsuspecting family members from all walks of life.

The struggle — which takes a brutal internal and intense toll with each new assignment (just watching their attempting-to-be-muted responses is harrowing) — is further complicated as Montgomery reaches an ethical dilemma when he becomes involved with a widow of a fallen officer (Samantha Morton). This plot line — the unexpected romance via the soldier’s misplaced empathy — seems cheap and predictable on paper, but thankfully lands in unexpected places that don’t resolve themselves nicely.

“Are you a headcase?” the sharp and unmannerly officer asks his subordinate when he’s explaining the rigors of the assignment and though his response is vehemently no, he’s “fine, sir” it’s clear that behind these weary eyes lies a very troubled, psychically damaged soul, so shellshocked from his experience he is uncomfortable in his own skin. Watching Foster’s twitchy, uncomfortable experience is amazing (it’s as if he could rip off his skin and charge out of his body if possible), but as we’ve been saying for years now, he’s incredible.

If there are some issues, they come up in the second act, two-thirds in, where the picture tends to meander a bit and veer slightly off message. Perhaps the almost-levity-like scenes between the two soldiers who eventually become friends (via boozing, roadtrips and chicks) is meant to balance out the more tormentingly affecting moments (that sometime make you feel like you’re having a mental ulcer), but the leisure-like moments just don’t feel as strong or moving as that emotive first half. Maybe it’s emotional ventilation that was needed.

As mentioned, all the actors are outstanding, but Woody Harrelson is especially phenomenal perhaps just because we can’t remember the last time he was this incisive and authoritative. Some may be shocked by Fosters acute and electric portrayal of the intense young solider, seemingly imploding inside daily, but this is just another great performance in a short, but fantastic line of head-turning performances in the last few years (yes, years ago circa 2004 he was a complete revelation, see “3:10 To Yuma,” “Alpha Dog” and more). If there’s a “weak link” in the picture its Morton, but perhaps because she’s a shattered and hollow shell — that character is practically dead to the world, she’s been through so much— and is on another narrative trajectory, she cannot match the raging fury of the other two. But nor is she trying. Her quiet despondency is really almost as fierce (though we have seen her put in a more commanding performance before — again maybe just the lifeless character). These are quibbles from biting and compelling turns. Everyone is generally on their A-game.

Jena Malone co-stars as Fosters ex-love (a decent job, but it’s a small role) and Steve Buscemi turns in a haunting cameo as a bereaved father full or rage and resent (“why aren’t you dead?” he screams at the soldiers as they deliver the horrible news). Other performances by mostly unknowns receiving notice of their dead children are largely gut wrenching with one Spanish-speaking grandfather delivering a devastating turn when the soldiers notify him of his daughters death. It will stop you in your tracks. Moment upon moment of these scenes are excruciatingly real, but never do they feel manipulative or as if they’re pounding you into empathetic submission. In fact, almost all these scenes are captured in a remarkably matter-of-fact manner, free of sentimentalizing or editorial underscoring.

Some have said the film has a documentary feel which is a bit excessive, but raw and unadorned it certainly is.

Though the soundtrack largely features a lot of aggro metal we (or I at least) would never actively listen to (though Pelican are great), within the context of the film and Foster’s tightly wound and internally brooding character, the mood set by the aggressive and corrosive music he listens to at home to “unwind” (drink, punch holes in walls) is perfectly used.

While as mentioned, the picture does tend to lose its bearing and focus ever so slightly in the latter second half (and perhaps is slightly just too long at 105 minutes), it does finish well and redeems any second-act meandering plot tangents.

A powerful piece of work, the picture is even more astonishing considering it is Overman’s debut feature-length film as a director (he co-wrote the multiple-character prism that was the Dylan-fantasy biopic, “I’m Not There” with Todd Haynes). And it rivals “A Single Man” as the most striking and assured directorial debut effort of the year. “The Messenger” is thoroughly captivating, fierce and a must-see film that while perhaps not entirely flawless (what is, really) will take your breath away more than once in a few crucial and agonizing scenes. It would be nice for several of these actors to get some Oscar consideration, but like “Wendy & Lucy” last year, “The Messenger” (same company distributing) might just have to unfortunately wait for the Independent Spirit Awards. Though if there’s any justice in the world, they will merit some close and serious Academy consideration. [A-]