I feel like I've always seen Richard Linklater's films at precisely the right time. My first experience with the filmmaker was 2014's Boyhood, which is regarded by many to be his masterpiece. I was 15 years old at the time, only a few years removed from the story's protagonist. While his life was certainly filled with more trauma than mine, I connected to the film on a fundamental level. Boyhood has a universal appeal, and I was totally compelled by Linklater's vibe and easy-going style. Less than a year later, I watched Dazed and Confused, the director's seminal teenage hangout flick, a film that I believe to be the greatest high school movie of all time. Linklater's "spiritual sequel" to Dazed, Everybody Wants Some!!, was released the following year and also became an instant favorite of mine, giving me a glimpse at the college years that were just around the corner. And then over the summer, I finally caught up with Linklater's Before Trilogy, three films that are just irresistible. To put it simply, all of these films are personal favorites. Few directors can do what Linklater does.
This is why it's so weird to talk about Last Flag Flying. It's weird to discuss a Linklater movie where I just felt so "meh." I didn't love it, I didn't hate it- I just didn't feel much of anything. It's far from a bad movie, as the notoriously talky filmmaker fills this road trip drama with excellent performers such as Bryan Cranston, Steve Carell, and Laurence Fishburne, all of whom are tremendous here. But despite the strong performances and fascinating material, Last Flag Flying often feels surprisingly lifeless. Linklater cares little about plot, instead choosing to focus on the intricacies and little moments in life (there's a scene in Boyhood that just about sums up his cinematic philosophy). But even if there are some bumps in the road, Linklater's films almost always end up feeling joyful and alive. While the director is certainly in his comfort zone with this meandering, loosely structured journey, the darkness of the story becomes almost oppressive, overwhelming the entire film to the point that it seems like Linklater doesn't know what to do. The result is a fitfully amusing dramedy, an overlong saga that feels surprisingly less than memorable.
During the Vietnam War, Sal Nealon (Cranston), Larry "Doc" Shepherd (Carell), and Richard Mueller (Fishburne) were platoon buddies and close friends. Years later, the three men have gone their separate ways, putting their pasts behind them and starting fresh. Sal owns a bar, Doc started a family after a brief period in military prison, and Mueller became a preacher. However, the whole dynamic changes again when Doc reunites his friends, bringing them together for some very sad news. Doc's son, Larry Jr., joined the Marine Corps to fight in the Iraq War, but Doc was recently informed that his only child was killed in action. In addition, Doc's wife died of cancer several months ago, leaving him pretty much alone in the world. With Larry set to be buried at Arlington, Doc needs his friends to help him on this journey. Through the course of a trip that takes some interesting turns, Sal, Larry, and Mueller will confront their past, deal with the course of their lives, and look forward to the future.
Last Flag Flying is an odd movie for a multitude of reasons, but I think it's noticeable that even the effective elements feel off. Take the performances, for example. The cast in this film is great, and the work done by the main trio of actors is wonderful. Bryan Cranston plays the brash Sal Nealon with gusto and poise, rattling off profanities and exuding machismo charm with astounding ease. It's a different kind of role for Cranston, and he sells it in an engaging, humorous way. Steve Carell has stretched himself as a dramatic actor in films like Foxcatcher and The Big Short, but I think he hits an interesting peak here. There's no gaudy makeup or eccentric mannerisms for him to play with- he's just tackling an ordinary man with a broken soul, trying to piece together his life in a way that makes him feel complete again. Laurence Fishburne is also solid as the rapidly aging Mueller, balancing vulgar outbursts and sensitive compassion in an impressive way. And then there's J. Quinton Johnson, one of the breakout stars of Everybody Wants Some!!, who does some wonderful work as a soldier forced to grit his teeth in the face of mounting pressure from his superiors.
So you have a group of very solid performances from great actors- that's undeniable. But what are we supposed to get out of this? What individual character arcs are these people taking over the course of this film? What story is being told, and why? I don't know if Linklater or co-writer Darryl Ponicsan know the answer to these questions. You could say that this is a movie about three men confronting their own past and coming to terms with the sins of their country, but I don't think Last Flag Flying reaches any compelling conclusions in that department. The simple fact of the matter is that Sal, Doc, and Mueller are the same people at the start of this movie as they are at the end of it- as pleasant as it is to spend time with these individuals, they're fairly static. The adventure is engaging at times, but there's a reason that this film feels so lifeless.
The film's inability to commit to a specific ideological position is also a serious problem. I don't think anybody would debate the fact that this is an anti-war movie- very few films would admit to being in favor of war in this day and age. But the extent to which Last Flag Flying condemns both the Vietnam and Iraq conflicts feels muted, as if the movie is afraid to really dig in and criticize the country. You get the anger a little bit with Doc, who is furious that his son was sent off to die in a "godforsaken desert," only to have his death be framed as a lie. On top of that, there are multiple allusions to an event that happened in the past, one that cost the life of a comrade and ultimately got Doc a stint in prison. All of this seems to cause these men to question their patriotism, to wonder why any of this was worth it in the first place. But does it really? Last Flag Flying kinda lets everyone off the hook in the end, almost solidifying the fact that the military's lies are a-okay as long as they make the families feel good. Forget what these wars did to Doc and his family, or how they crippled Mueller and turned Sal into an alcoholic. They wanted to serve, and that made them heroes- the rest is just stuff they have to grapple with as part of the job. It's a strange point to make, and the film really shies away from its critiques in favor of quiet, stoic jingoism as it reaches its final moments.
But then again, if Linklater was hoping to achieve mainstream appeal, this is something that just had to be done. Or maybe the ending is meant to be tragic in a way, showing the way that these men can only accept what they've done as part of a greater American purpose, ignoring the trauma and pain that it has caused them. Whatever the case may be, Last Flag Flying's ultimate conclusion feels unclear, an insufficient summation of the narrative as well as the individual character arcs. Nonetheless, the way that it tries to pull off this tricky act of patriotic critique is admirable in a way, and Linklater's poise behind the camera makes for a mostly enjoyable experience. Last Flag Flying has very much a salt of the earth vibe, taking place mainly at dingy motels, crummy diners, and dreary train stations. The film looks glum and gray all the time, like Linklater and cinematographer Shane F. Kelly deliberately made the film feel constantly downbeat. It fits with the vibe, but man, it's kinda exhausting after a while.
Last Flag Flying is a film that almost works, and there's enough good stuff in it that I just wish Linklater had been able to put all of the pieces together. The result is an overlong and challenging road trip film, one that lacks the profound and warm spirit of Linklater's best work. It channels that easy-going sensibility that the director does so well, and it features a tremendous trio of actors, led by an Oscar-worthy Steve Carell. It's just unfortunate that the film never fully jumps off the screen, leaving an air of disappointment around a fascinating project. I have no doubt that Linklater will bounce back with his next film, but this is a strange and interesting little misstep by the beloved filmmaker, one that represents a relative low point after a string of incredible successes throughout the course of this decade.
THE FINAL GRADE: B- (6.7/10)
Images courtesy of Amazon and Lionsgate
This is why it's so weird to talk about Last Flag Flying. It's weird to discuss a Linklater movie where I just felt so "meh." I didn't love it, I didn't hate it- I just didn't feel much of anything. It's far from a bad movie, as the notoriously talky filmmaker fills this road trip drama with excellent performers such as Bryan Cranston, Steve Carell, and Laurence Fishburne, all of whom are tremendous here. But despite the strong performances and fascinating material, Last Flag Flying often feels surprisingly lifeless. Linklater cares little about plot, instead choosing to focus on the intricacies and little moments in life (there's a scene in Boyhood that just about sums up his cinematic philosophy). But even if there are some bumps in the road, Linklater's films almost always end up feeling joyful and alive. While the director is certainly in his comfort zone with this meandering, loosely structured journey, the darkness of the story becomes almost oppressive, overwhelming the entire film to the point that it seems like Linklater doesn't know what to do. The result is a fitfully amusing dramedy, an overlong saga that feels surprisingly less than memorable.
During the Vietnam War, Sal Nealon (Cranston), Larry "Doc" Shepherd (Carell), and Richard Mueller (Fishburne) were platoon buddies and close friends. Years later, the three men have gone their separate ways, putting their pasts behind them and starting fresh. Sal owns a bar, Doc started a family after a brief period in military prison, and Mueller became a preacher. However, the whole dynamic changes again when Doc reunites his friends, bringing them together for some very sad news. Doc's son, Larry Jr., joined the Marine Corps to fight in the Iraq War, but Doc was recently informed that his only child was killed in action. In addition, Doc's wife died of cancer several months ago, leaving him pretty much alone in the world. With Larry set to be buried at Arlington, Doc needs his friends to help him on this journey. Through the course of a trip that takes some interesting turns, Sal, Larry, and Mueller will confront their past, deal with the course of their lives, and look forward to the future.
Last Flag Flying is an odd movie for a multitude of reasons, but I think it's noticeable that even the effective elements feel off. Take the performances, for example. The cast in this film is great, and the work done by the main trio of actors is wonderful. Bryan Cranston plays the brash Sal Nealon with gusto and poise, rattling off profanities and exuding machismo charm with astounding ease. It's a different kind of role for Cranston, and he sells it in an engaging, humorous way. Steve Carell has stretched himself as a dramatic actor in films like Foxcatcher and The Big Short, but I think he hits an interesting peak here. There's no gaudy makeup or eccentric mannerisms for him to play with- he's just tackling an ordinary man with a broken soul, trying to piece together his life in a way that makes him feel complete again. Laurence Fishburne is also solid as the rapidly aging Mueller, balancing vulgar outbursts and sensitive compassion in an impressive way. And then there's J. Quinton Johnson, one of the breakout stars of Everybody Wants Some!!, who does some wonderful work as a soldier forced to grit his teeth in the face of mounting pressure from his superiors.
So you have a group of very solid performances from great actors- that's undeniable. But what are we supposed to get out of this? What individual character arcs are these people taking over the course of this film? What story is being told, and why? I don't know if Linklater or co-writer Darryl Ponicsan know the answer to these questions. You could say that this is a movie about three men confronting their own past and coming to terms with the sins of their country, but I don't think Last Flag Flying reaches any compelling conclusions in that department. The simple fact of the matter is that Sal, Doc, and Mueller are the same people at the start of this movie as they are at the end of it- as pleasant as it is to spend time with these individuals, they're fairly static. The adventure is engaging at times, but there's a reason that this film feels so lifeless.
The film's inability to commit to a specific ideological position is also a serious problem. I don't think anybody would debate the fact that this is an anti-war movie- very few films would admit to being in favor of war in this day and age. But the extent to which Last Flag Flying condemns both the Vietnam and Iraq conflicts feels muted, as if the movie is afraid to really dig in and criticize the country. You get the anger a little bit with Doc, who is furious that his son was sent off to die in a "godforsaken desert," only to have his death be framed as a lie. On top of that, there are multiple allusions to an event that happened in the past, one that cost the life of a comrade and ultimately got Doc a stint in prison. All of this seems to cause these men to question their patriotism, to wonder why any of this was worth it in the first place. But does it really? Last Flag Flying kinda lets everyone off the hook in the end, almost solidifying the fact that the military's lies are a-okay as long as they make the families feel good. Forget what these wars did to Doc and his family, or how they crippled Mueller and turned Sal into an alcoholic. They wanted to serve, and that made them heroes- the rest is just stuff they have to grapple with as part of the job. It's a strange point to make, and the film really shies away from its critiques in favor of quiet, stoic jingoism as it reaches its final moments.
But then again, if Linklater was hoping to achieve mainstream appeal, this is something that just had to be done. Or maybe the ending is meant to be tragic in a way, showing the way that these men can only accept what they've done as part of a greater American purpose, ignoring the trauma and pain that it has caused them. Whatever the case may be, Last Flag Flying's ultimate conclusion feels unclear, an insufficient summation of the narrative as well as the individual character arcs. Nonetheless, the way that it tries to pull off this tricky act of patriotic critique is admirable in a way, and Linklater's poise behind the camera makes for a mostly enjoyable experience. Last Flag Flying has very much a salt of the earth vibe, taking place mainly at dingy motels, crummy diners, and dreary train stations. The film looks glum and gray all the time, like Linklater and cinematographer Shane F. Kelly deliberately made the film feel constantly downbeat. It fits with the vibe, but man, it's kinda exhausting after a while.
Last Flag Flying is a film that almost works, and there's enough good stuff in it that I just wish Linklater had been able to put all of the pieces together. The result is an overlong and challenging road trip film, one that lacks the profound and warm spirit of Linklater's best work. It channels that easy-going sensibility that the director does so well, and it features a tremendous trio of actors, led by an Oscar-worthy Steve Carell. It's just unfortunate that the film never fully jumps off the screen, leaving an air of disappointment around a fascinating project. I have no doubt that Linklater will bounce back with his next film, but this is a strange and interesting little misstep by the beloved filmmaker, one that represents a relative low point after a string of incredible successes throughout the course of this decade.
THE FINAL GRADE: B- (6.7/10)
Images courtesy of Amazon and Lionsgate
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