The movie is set in a divided United States an election or two into the future. It’s flawed and blunt but also coldly compelling.
In the near future, a war photographer witnesses a nation on the brink in “Civil War.” Much like America itself, writer-director Alex Garland’s “Civil War” is a precarious sort of success almost in spite of itself, and despite being its own worst storytelling enemy. How? How can those circumstances lead to a movie still worth seeing? Well, see it and find out. Or find out if you disagree.
Garland wastes no time on set-up or a moral compass for this not-so-strange new world. A few key facts are established early on. A “Western Front” secessionist movement, with strange bedfellows California and Texas leading the way, has sparked a second civil war.
We’re given scant how-did-we-get-here particulars in “Civil War,” presumably because we can guess. This national leader, first seen rehearsing a televised White House speech expressing optimism and resolve in the face of multidirectional insurgents, is a three-term POTUS who, we hear, has summarily gotten rid of the FBI and routinely conducts airstrikes on an unruly populace.
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