Hot off his controversial wartime drama in last year’s Civil War, Alex Garland is back with another war movie in what I hope will be one of the year’s highlights: Warfare. This drama co-directed by Garland and former Navy SEAL Ray Mendoza offers a visceral and unflinching portrayal of modern combat.

The story centers on a platoon of Navy SEALs, led by Erik (Will Poulter), who occupy an Iraqi family's home to serve as an observation post. Their mission takes a perilous turn when they come under sudden attack from insurgents, plunging them into a relentless fight for survival. The film's real-time storytelling intensifies the suspense, capturing the claustrophobia and chaos of urban warfare. Garland and Mendoza's direction is commendable for its commitment to authenticity. The film oscillates between moments of tense silence and explosive action, effectively conveying both the monotony and terror of a soldier's experience. David J. Thompson's cinematography complements this approach, utilizing static shots and drone footage to build tension and provide a comprehensive view of the battlefield.

The ensemble cast delivers compelling performances that humanize the soldiers beyond their combat roles. Reservation Dogs star D'Pharaoh Woon-A-Tai portrays Mendoza (based on the director), bringing depth to the character's internal struggles. Poulter's depiction of Erik balances authority and vulnerability as he slowly breaks under pressure, while supporting actors such as Cosmo Jarvis, Kit Connor, and Joseph Quinn add layers to the narrative, portraying the diverse personalities within the unit. Although they don’t leave much of an individual contribution, Michael Gandolfini, Charles Melton, and Taylor John Smith left solid impressions. Poulter, in particular, is looking to reinvent himself as a strong actor who is more than “the eyebrows guy.” He’s previously given some incredible performances in 2013’s We’re the Millers and 2017’s Detroit, with this being his most versatile role to date.

A notable aspect of Warfare is its refusal to glorify war. The film presents military action as a brutal reality, emphasizing the human cost without moralizing. This objective stance allows viewers to engage with the narrative personally, fostering empathy for soldiers and civilians affected by conflict. The key factor in this decision is the film’s sound design. Not since 1917 has this element played such an integral part in the overall experience. Varying from footsteps, silence as soldiers wait for something to happen, and jets zooming by just twelve feet off the ground, Glenn Freemantle and Mitch Low’s audio work is sure to shock audiences as much as the chaotic action happening on screen.

If Warfare lacks anything, it’s character development. I get that Garland and Mendoza likely didn’t have that in mind when workshopping this film. Still, the audience hardly learns anything about the individual soldiers besides the basics. You got Quinn’s Sam, the tough-as-nails soldier, and Connor’s Tommy, the young buck on his first mission, but the script doesn’t call for more than surface-level exposition for them or anybody else in the group. I wish I had learned more about Smith’s sniper Frank, Gandolfini’s FSO lieutenant McDonald, or even D’Pharaoh Woon-A-Tai’s Ray. Instead, we see these young soldiers do their respective jobs and endure the mayhem that comes with it.

This is a sensory blitz that is hard to forget, a significant addition to war cinema distinguished by its real-time narrative, authentic depiction of combat, and nuanced performances. For those prepared to confront its brutal honesty, Warfare offers a profound cinematic experience that lingers long after the credits roll.

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