“War Machine” is the type of slightly second-rate action thriller that could have existed thirty years ago, for better or worse. It was after the success of ‘80s action films like “First Blood” and “Predator” that Hollywood grew to fetishize the American military, turning soldiers into larger-than-life heroes that felt like “G.I. Joe” characters come to life. Even if a majority of the best ‘90s action films were derived from the more apolitical “Die Hard” formula of an “ordinary man trapped in extraordinary circumstances,” directors like Michael Bay and Roland Emmerich continued to foster relationships with the military that resulted in heavily skewed depictions.
It’s become a subgenre of action cinema that any fan of the genre may have to accept, regardless of their personal leanings. Even if Hollywood has allowed for military intervention to become increasingly similar to propaganda (check out Peter Berg’s “Lone Survivor” for an example), there’s also no reason to believe that “Universal Soldier” is going to inspire blockbuster audiences to turn conservative.
“War Machine” is made with the assumption that everyone is on the same page about the military as audiences were when Arnold Schwarzenegger fought a ruthless alien in John McTiernan’s 1987 sci-fi classic. They’re unquestionably framed as the goody guys, but the superficial depiction of military culture doesn’t have any direct correlations to current events because of the incorporation of the supernatural. Although there have been more than a few military-themed alien invasion films, “War Machine” takes a somewhat unique approach of squaring off a team of Army Rangers in-training against a large, mechanized force that comes from another planet.
The titular “War Machine” doesn’t show up in the film for a good 20 minutes, which are devoted to the backstory of a soldier identified with his number of “81” (Alan Ritchson). It’s after a tragic incident overseas that the character has returned to make a last attempt to join the Army Rangers out of obligation to his brother (Jai Courtney).
While his physical endurance and combat skills are above criticism, Ritchson’s strong, brooding hero is questioned by his superiors (Dennis Quaid and Esai Morales) when it comes to his leadership skills. 81 has gone out of his way to indicate that he’s not a team player, but an essential part of graduating the program is learning to collaborate with his fellow trainees in order to complete a test involving avoiding ambushes. It’s coincidental that during this training mission, a legitimately dangerous, inexplicable machine emerges to ensure that all the stakes feel real.
What’s ironic is that “War Machine” may have looked from the outset to be a “turn off your brain” work of escapist spectacle, when in actuality it is a much stronger military drama than it is a science fiction spectacle. The existence, motivations, and rules of how the antagonist operates are only briefly explained for the sake of convenience, and even then feel like a reworking of tropes that have been familiar since “The Terminator” and “Robocop.” However, the effort put into giving 81 a true character arc and a genuine sense of vulnerability makes a significant difference in giving a reason to care when the action shenanigans get sillier.
Ritchson is an actor whose physique could have been a barrier, given that he’s so in shape and imposing that it would be hard to suggest he faced any fear of being threatened. The clever choice that “War Machine” makes is to make his seemingly opaque qualities essential to his character arc. 81 has turned himself into a fighting machine because he sees his task as one of individualism, where he will not have to bear the weight of responsibility. His rejection of leadership comes from his trepidation about putting others in charge of others, as it’s far easier to charge into danger when he’s only slightly concerned about his own life.
Even if the script is inelegant in expressing some of his moments of emotional turmoil, Ritchson gives a performance that far exceeds what would be asked for from the material. If this is a premise that could have been made with a disposable action lead like Jean Claude Van Damme or Steven Seagal in mind, Ritchson approaches it as a genuine acting job and doesn’t rely on his inherent charisma.
The bonding between the soldiers is mostly charming, but there’s little background given to the supporting characters beyond a few basic characteristics. There’s reason enough to care about each of them, but nothing significant to keep them distinguished. The one exception is if the other recruit, who is selected for leadership responsibilities, played by Stephan James, in another performance that is far more nuanced than the material calls for.
Even if “War Machine” is often far too glum for a premise that is so inherently ridiculous, the strong chemistry between James and Ritchson does breathe some life into the material. The issue that “War Machine” runs into is that its mechanized villain isn’t actually that dynamic, leading to action scenes that grow derivative. The initial period of revelation, in which the soldiers are first exposed to the deadly creature, has an aura of uncertainty in which there is genuine suspense.
However, it’s after more information is collected and the heroes begin to develop a strategy that “War Machine” suffers from comparisons to other films within the genre. Director Patrick Hughes is no novice when it comes to action cinema, but his previous work on “The Hitman’s Bodyguard” and its sequel was pitched in an irreverent tone. “War Machine” is so plastic in its use of CGI that it never conveys grittiness.
Originally intended for theatrical release before being acquired for distribution by Netflix, “War Machine” is in many ways the ideal streaming film. It’s disposable, forgettable, but mostly entertaining for anyone who is only half paying attention. While it’s often the case that the acting elevates it to being a genuine guilty pleasure, a cheap ending with a lazy sequel tag ends “War Machine” on a sour note. It’s an amusing indication of what the streaming landscape is like that a film like “War Machine” can get a soft recommendation on the condition that audiences don’t pay for it.
