‘The Outpost’ review: director Rod Lurie turns Jake Tapper’s book into a tense but flawed vision of war


Based on a CNN Jake Tapper book, the film (adapted by Paul Tamasy and Eric Johnson) tells the true story of Combat Outpost Keating in Afghanistan, and the small unit assigned to it in 2009. They were given the ill-defined task. defending America’s interests, operating from what turned out to be an incredibly poorly chosen location.

“Welcome to the dark side of the moon,” a newcomer is told, while scrawled over one of the bunks are the words, “It doesn’t get any better.”

For the sake of authenticity, the interaction between the soldiers is full of bravado and bravado, which one disparagingly describes as “fraternity boy”, although “stuff” is not the word he uses.

Led by hostile insurgents who periodically fire on them, the group finds black humor in names like Mortaritaville for parts of the camp. However, they largely rule out the possibility of a full-scale assault until it becomes a grim reality, leading to a frantic fight for survival now known as the Battle of Kamdesh, which occupies a sizable portion of the film. .

There are quieter moments, like an interlude where everyone has a fleeting opportunity to call home. Still, “The Outpost” would greatly benefit by allowing the audience to get to know the key players a little better before hell breaks loose.

Scott Eastwood in 'The Outpost'.

The main objective, clearly, is to convey the bravery of those involved, highlighting their sacrifice in plunging the audience into the chaos and carnage they experienced. Second, and less developed, is the matter of the strategic error that put them in that position. (Tapper’s book is notably subtitled “An Untold Story of American Courage”).

As “American Sniper” showed, there is an audience for modern movies that celebrate military heroes and crude portrayals of war as “Hacksaw Ridge.” Those films, however, were built around strong central characters, while this is an ensemble piece, to the detriment of getting a good handle on most of them.
Orlando Bloom, Caleb Landry Jones and Scott Eastwood of “Get Out” (as Medal of Honor recipient Clint Romesha, a soldier so harsh that Eastwood plays with a growl reminiscent of his father, Clint, around that age) occupy some of the most prominent roles Daniel Rodríguez, one of the actual participants in the battle, plays himself, and Tapper interviews members of the highly decorated troop along with the closing credits.

In a note to critics, Lurie acknowledged that, understandably, she would have preferred the film to be seen in theaters, before events intervened. Although the action may gain something in that format, the shortcomings of “The Outpost” have less to do with the size of the screen than with the depth of what it contains. That doesn’t necessarily undermine the core message, but it is a reminder that in the transition from book to film, technical muscle alone is not enough.

“The Outpost” opens in select theaters and on demand on July 3. It is rated R.

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