Since serving as a marine in Vietnam, Norfolk barman Sal (Cranston) has used alcohol to dull the memories. Then old military pal Doc (Carell) turns up, and they head to Richmond to find Mueller (Fishburne), now a pastor. Doc needs his friends to help collect the body of his son, killed in action in Iraq, for burial. Over the next few days as they travel to Washington and on to Doc's New Hampshire hometown, these three men are forced to confront their past, as well as the present state of the country they fought for.

Accompanying them is a young marine (Johnson) who was present when Doc's son was killed, and he provides the first moment of truth when he contradicts the official story that's been given to Doc. Linklater and cowriter-novelist Ponicsan carefully ground every scene in real-life emotions that resonate strongly, from continual riotous laughter to darkly moving grief. It's the kind of film that quickly drags the audience in with sparky characters then holds us there with it's provocatively deepening themes.

At the centre, Carell gives a staggering performance as an average guy who has been through some astonishingly tough personal events over the years. He's understated and likeable, funny and compelling. And he's a striking contrast to Cranston's brash scene-stealer and Fishburne's caring but somewhat pompous preacher. The balance between them is tricky, and it grows as they rediscover the old rhythms from their younger days, filtered through their very different stories before and after their service together in Vietnam.

As with most of Linklater's films, the direction and editing feel effortless, sharply tracing events that feel organic and unforced. Along the way, the film elicits huge reactions, sometimes both laughter and tears at the same time, simply because these people are so easy to identify with. And accompanying the story is a quietly moving exploration of loyalty, smashing any illusion of rah-rag heroics to find a more complex truth.

themes, language, violence

7.Oct.17 lff