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She doesn't make them to supply us with information, but to create a tone, an attitude: She is engulfed by the enormous mysteries of nature, and yet the human life around her seems more and more banal.

Civilization is an assembly line to hell.

In retaliation, she weaves dream-images out of songs and symbols and electronic noises. She calls herself a "performance artist" rather than a musician. And although all musicians are performance artists, I think I know what she means. She does not give concerts. She attempts to create in her audiences a more open, wondering state of mind.

"Home of the Brave" is a 90-minute documentary based on one of her performances. Large parts of it will be familiar to anyone who has seen her in person during the past year, but the film has a somewhat different feel than her live performances. As a backdrop to her music, Anderson uses a large rear-projection screen that sometimes relays messages made up of technological cliches and sometimes uses film loops to show the same images over and over.

The images have a hypnotic quality. Crudely drawn sheep jump over a fence, again and again, or boats steam past a rusty bridge, or - as she talks about the sperm - we see little tadpoles earnestly swimming upstream, one of them breaking away every once in a while for a loop-the-loop. The images are deliberately crude and machine-made. The film loops are so short that they announce themselves. We can see that the same images are being recycled in a circle, and the feeling is sort of poignant: All those sperm, all that effort, all for nothing.

In front of these images, the Laurie Anderson Band performs. With her short, spiky hair and her athletic grace, Anderson sometimes seems more like a craftsman than a singer. She moves in a kind of robot choreography, and she likes to seem deadpan. She takes the hand-held mike and wanders the stage, reciting parables and slices of bizarre information. She likes phrases such as "This just in...," as if she were at the anchor desk for the death of the world. She uses strange lighting effects to create instants of magic.

She was one of the first to use voice synthesizers, which lower the tone of her voice while maintaining the same speed of speech. The effect is sort of big-brotherish; she seems official, a voice made from a machine, speaking words as objects. Behind her, the rhythms are seductive, statements made over and over until they lull us into her mind state.

There are times when Anderson seems almost like an anti-performance artist, times when she cuts off a song or interrupts a progression just as it is threatening to develop into melody and entertainment. But the effect is not dry and antiseptic, as it is with some ultramodern music. Every song has a soul of wit and an edge of rebellion.

It's strange. You can't put your finger on it, but after you leave, you have the feeling that your perception of things has been skewed slightly. Anderson is saying: We're surrounded by bankrupt images and music that is fascist noise, and they're pounding away at us, trying to break us down, to kill the spark, but if we keep two things we will be able to survive. Those two things are a sense of wonder and the ability to laugh back.

I realize as I write these words how difficult it is to describe what Laurie Anderson does. I may have made her performances seem like an ordeal, when actually they are stimulating and joyful. She is an original, so original that comparisons are misleading. Could I call her a cross between a cosmic Garrison Keillor and the Talking Heads? That wouldn't quite do it. You have to see for yourself.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Movie Review | 'Home of the Brave'

After Iraq, Struggling on the Home Front

By Stephen Holden

• Dec. 15, 2006

The kindest description of “Home of the Brave,” the first Hollywood movie to examine the experience of American soldiers returning from Iraq, might be that it is fueled by noble intentions.

Directed by Irwin Winkler from a script by Mark Friedman, a first-time screenwriter, it wants to be a smaller-scaled, contemporary “Best Years of Our Lives.” And two of its characters — one who has lost a hand and another who can’t settle down — carry echoes of that 1946 William Wyler classic. But as this cautious, politically evenhanded movie grinds along like clockwork, the fuse that should spark an emotional explosion fizzles after some sporadic hisses and sputters. Most of those noises emanate from Samuel L. Jackson as Will Marsh, a glowering, embittered Army medic who, once he is stateside, develops a drinking problem.

By the end of “Home of the Brave,” you may feel as if you have just sat through an earnest made-for-television movie featuring actors who are too pretty to be real people dutifully recycling a formula. Devoid of personality, their tidy cut-and-paste speeches have the ring of carefully composed and edited distillations of previous home-from-the-front movies.

Functional clockwork is not to be confused with good timing. “Home of the Brave” feels both premature and hopelessly stale: premature because so many thousands of American troops remain in Iraq with no timetable for an exit, and stale because the drama suggests a pallid imitation of the real thing so easily found in documentaries like “The War Tapes.” “Home of the Brave” suggests that when the time comes for Hollywood to take on the war in Iraq, those documentaries are going to pose a serious challenge to filmmakers seeking credibility.

In the early scenes, set in southeastern Iraq (and filmed in Morocco), members of a National Guard unit rejoice at the news that they are about to be demobilized. But before they return to their hometown of Spokane, Wash., they are dispatched on a final humanitarian mission in the town of Al Hayy.

Because not a word is spoken nor an action taken in the movie that isn’t entirely predictable, you know that they will be ambushed. And in the battle sequence that follows, the life of one driver, Vanessa Price (Jessica Biel, as bland as she is impeccably coiffed), is saved by Will after an explosion blows up her jeep. But she loses a hand. Another soldier, Tommy Yates (Brian Presley, looking soap opera ready), witnesses his best friend’s death.

Then suddenly we’re back in the States, where, after their welcome-home parties, the traumatized soldiers stew and sulk while loved ones question them worriedly and try to understand. The dialogue is so wooden you almost expect to hear “the horror, the horror.” As they try to adapt to civilian life, the movie too insistently splices their everyday experiences with flashbacks of their war experiences.

Will hits the bottle, battles his hostile teenage son (Sam Jones III) and drives his wife, Penelope (Victoria Rowell), to the end of her patience. If the father-son scenes feel stiffly contrived, Mr. Jackson and Ms. Rowell at least strike a few angry sparks. Meanwhile Vanessa, a single mother, rejects her old boyfriend and tries to pretend that life, despite a prosthetic hand, is the same as it was before. The movie conveniently invents a Mr. Right who works at the school where she teaches. Tommy discovers that his old job in a gun store has been taken, and he is pushed by his bullying father to be a police officer, but nothing he tries seems to stick.

With his scenes crudely shoehorned into the movie, Curtis Jackson (the rap star 50 Cent) plays Jamal Aiken, a lighted stick of dynamite with whom Tommy clashes in a group therapy session. Jamal soon goes ballistic and has a melodramatic standoff with the police at a fast-food outlet.

Yes, the movie has action and high drama, but most of it feels synthetic. Consider “Home of the Brave” an honorable dud.

“Home of the Brave” is rated R (Under 17 requires accompanying parent or adult guardian). It has profanity, scenes of violence and one sexual situation.

HOME OF THE BRAVE

Opens today in New York and Los Angeles.

Directed by Irwin Winkler; written by Mark Friedman; director of photography, Tony Pierce-Roberts; edited by Clayton Halsey; music by Stephen Endelman; production designers, Jonathan McKinstry and Warren Alan Young; produced by Rob Cowan, George Furla and Avi Lerner; released by Metro Goldwyn Mayer. In Manhattan at Loews Lincoln Square, 1998 Broadway, at 68th Street. Running time: 101 minutes.

WITH: Samuel L. Jackson (Will Marsh), Jessica Biel (Vanessa Price), Christina Ricci (Sarah Schivino), Curtis Jackson (Jamal Aiken), Chad Michael Murray (Jordan Owens), Victoria Rowell (Penelope Marsh), Sam Jones III (Billy Marsh) and Brian Presley (Tommy Yates).

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Home of the brave, common sense media reviewers.

Iraq war vets cope with big issues; not for kids.

A Lot or a Little?

What you will—and won't—find in this movie.

Iraq war veterans return home to face an unprepare

The film begins in Iraq, during the war. Scenes in

Kissing in bed precedes a cut to a post-sex couple

Frequent use of "f--k," plus other langu

Amstel light, REI, Sun Chips.

Cigarette smoking (frequent); beer drinking; alcoh

Parents need to know that this serious drama deals with difficult issues faced by veterans of the Iraq war, including post-traumatic stress disorder, phantom pain, alcoholism, and lack of stateside resources. War violence -- including shooting and explosions (mortars, grenades, rockets, and disguised bombs) -- results…

Positive Messages

Iraq war veterans return home to face an unprepared VA hospital, frustrated and loving families, and a lack of social and economic options.

Violence & Scariness

The film begins in Iraq, during the war. Scenes include urban combat and ambush (a bomb disguised as a dead dog blows up a U.S. convoy, leaving bloodied bodies, and there are shoot-outs, foot and vehicle chases, and explosions). Flashbacks throughout the film repeat scenes of explosions and wounded soldiers, including Vanessa's bloody hand/missing fingers. Several scenes show the aftermath of war injuries, as Vanessa struggles with her prosthetic hand and physical therapy. Some difficult discussions of war experiences (killing others, seeing friends killed). Attempted hostage-taking ends in a police shooting death.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Kissing in bed precedes a cut to a post-sex couple lying in bed; kissing and caressing between couple (bra visible); nothing explicit.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Frequent use of "f--k," plus other language -- "s--t," "hell," "damn," "bitch," "p---y," "a--hole." A rude hand gesture is used; a T-shirt reads "Buck Fush."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Cigarette smoking (frequent); beer drinking; alcoholism (a veteran is abusive, angry, and miserable); discussion of prescription drugs (for pain, insomnia, and depression).

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that this serious drama deals with difficult issues faced by veterans of the Iraq war, including post-traumatic stress disorder, phantom pain, alcoholism, and lack of stateside resources. War violence -- including shooting and explosions (mortars, grenades, rockets, and disguised bombs) -- results in bloody injuries, deaths, and upset survivors. At home, characters suffer from flashbacks, nightmares, emotional disturbances, and physical disabilities. Family members argue, and characters swear frequently, smoke cigarettes, drink, and take/discuss prescription drugs. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

Timely and moving but frustratingly contrived, HOME OF THE BRAVE is like The Best Years of Our Lives for the Iraq war, tackling the difficult issues faced by returning veterans. Once the unit goes home, the clichés come fast and furiously, competing with images viewers will likely recognize from the news.

Jamal's situation is the most painfully stereotypical. Rejected by his girlfriend and frustrated by the repetitive complaints he hears in group therapy, Jamal tries to reassert his manhood. Since the film leaves Jamal high and dry (his fellow vets get family and friends), he appears angry and alone, stalking his ex or shifting unhappily in his chair at the Veterans' Administration. He's a peculiar figure, part fantastic and part fearsome -- a gangster trained and used up by the military, then left without any recourse.

Is It Any Good?

This is a hard-hitting war drama. Opening in Iraq -- where a group of National Guardsmen from Spokane, Wash., is looking forward to going home in two weeks after extended tours -- HOME OF THE BRAVE shows the effects of combat and loss on strong young men and women, as well as the toll on their families. When their unit is ambushed, Jamal ( 50 Cent ) and his best friend, Jordan ( Chad Michael Murray ), take off after their attackers and meet with terrible consequences. Convoy driver Vanessa ( Jessica Biel ) loses her hand, and medic Will Marsh ( Samuel L. Jackson ) feels angry and helpless in the face of senseless carnage. Back home, Jamal is haunted by his own act of violence, Tommy (Brian Presley) by the death of a best friend, and others by guilt, flashbacks, and resentment at the military's lack of understanding and care. Will's family life suffers and he starts drinking, and single mom Vanessa struggles to take care of herself and her son.

Talk to Your Kids About ...

Families can talk about the media's coverage of the war in Iraq. How does the movie's treatment of the issues compare to what you see on television? Do you think one version is more accurate and/or objective than the other? Why and how? How is the media's coverage of the Iraq war different from -- and similar to -- coverage of other wars and conflicts? Families can also discuss how war affects veterans and their families. What issues do the veterans in this movie grapple with once they come home? How do their families struggle to support them? How are these challenges different for men and women, for parents and children?

Movie Details

• In theaters : May 10, 2007
• On DVD or streaming : October 23, 2007
• Cast : Curtis "50 Cent" Jackson , Jessica Biel , Samuel L. Jackson
• Director : Irwin Winkler
• Inclusion Information : Black actors, Female actors
• Studio : MGM/UA
• Genre : Drama
• Run time : 105 minutes
• MPAA rating : R
• MPAA explanation : war violence and language.
• Last updated : May 19, 2024

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Home of the Brave (United States/Morocco, 2006)

Home of the Brave starts out with promise as it shows to good effect the chaos and uncertainty inherent in "battling" in current-day Iraq. Unfortunately, after the action shifts from the deserts of the Middle East to the relative calm of the home front (specifically, Spokane, Washington), it devolves into a morass of melodramatic clichés. Not only is the bulk of Home of the Brave preachy and predictable, but it features some of the worst dialogue to be found in any non-horror film this year. There's no doubt that director Irwin Winkler and screenwriter Mark Friedman came to this project with the best of intentions. However, as the saying goes, "The road to hell is paved with good intentions." Sitting through Home of the Brave isn't cinematic hell, but it's only a step up.

In modern-day Iraq, five soldiers have just learned they're going home in two weeks. Before the departure day arrives, however, they are involved in an ambush and firefight that have lasting consequences for all of them. Vanessa Price (Jessica Biel) is injured by an IED. She loses a hand and is badly burned. She is treated on the battlefield by Dr. Will Marsh (Samuel L. Jackson), who has stared down the barrel of a gun in his own operating theater. Marines Jamal Aiken (Curtis "50 Cent" Jackson), Tommy Yates (Brian Presley), and Jordan Owens (Chad Michael Murray) go in search of the ambushers. Jamal accidentally kills an innocent woman. Tommy is shot in the leg. After registering a kill, Jordan falls under a hail of gunfire. He dies in Tommy's arms.

Spokane, weeks later: none of the survivors are coping. Vanessa ends a relationship with a long-term boyfriend and finds it nearly impossible to get by using a prosthetic hand. Tommy is surly and incommunicative; his only meaningful conversations are with Jordan's mourning girlfriend (Christina Ricci in a cameo). Jamal has become angry and is on the edge of going postal. Will has turned to the bottle for solace and is working hard to erect a barrier between himself and his wife and children. These people, who could function in Iraq, are unable to deal with the business of survival once they return to the real world.

The opening scenes in Iraq are effectively presented. They use quick camera pans and point-of-view shots to good effect. Viewers can feel the tension and the promise of violence in every frame before chaos erupts, then Winkler takes us into the heart of the battle. After Iraq, however, the film isn't worth watching. The "drama" is clichéd and ineffective. Points are made with sledgehammer subtlety. Preaching is the order of the day. And the dialogue goes from bad to worse. Not only don't real people talk the way these characters do, but the lines are so laughable that it's amazing the actors could say them without breaking into fits of uncontrolled giggles.

The performances are uneven, but maybe that's to be expected considering the quality of the writing. Samuel L. Jackson mixes understated, introspective scenes with over-the-top buffoonery. Jessica Biel, who is taking a stab at becoming a serious actress, has high points and low points, with her worst moments being those that require big displays of emotion. Brian Presley's performance is less variable but no more memorable. Curtis Jackson has less screen time, but arguably does the most consistent acting. His screen presence is undeniable.

For anyone who has been away from home for a time, especially those whose lives have been spent in a war zone, a return to "normalcy" requires a period of adjustment. It's more difficult for some than others. Had Home of the Brave presented credible stories about believable characters, it might have been a powerful drama. Certainly, the setup is in place for something remarkable. Unfortunately, bad writing and heavy-handed direction have taken this movie in an unenviable direction. The sad thing to behold in Home of the Brave isn't the characters struggling to regain control of their lives, but the actors struggling to gain control of the material. Considering its inherent weaknesses, they, like unfortunate movie-goers who elect to see the film, have no chance.

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Home of the Brave

Where to Watch

Samuel L. Jackson (Will Marsh) 50 Cent (Jamal Aiken) Jessica Biel (Vanessa Price) Brian Presley (Tommy Yates) Christina Ricci (Sarah Schivino) Chad Michael Murray (Jordan Owens) Victoria Rowell (Penelope Marsh) Jeffrey Nordling (Cary) Vyto Ruginis (Hank Yates) Sam Jones III (Billy Marsh)

Irwin Winkler

Three soldiers struggle to readjust to life at home after returning home from a lengthy tour in Iraq.

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Home of the Brave (2006)

Home of the brave.

"Wars begin where you will but they do not end where you please." --Machiavelli Oscar winner Irwin Winkler is the director of HOME OF THE BRAVE, a dramatic story revolving around soldiers who struggle to readjust to normal life after returning home from a lengthy tour of duty in Iraq. The impressive cast in the original screenplay by Mark Friedman from a story by Friedman and Winkler are Samuel L. Jackson, Jessica Biel, Christina Ricci, Curtis "50 Cent" Jackson, Chad Michael Murray, and Brian Presley. Photographed on rugged locations in Morocco to stage Iraq battle scenes and later in Spokane, Washington, for the emotional homecoming of the main characters, the film deals with not only the battles in a distant country, but those at home as well. To date, perhaps more than a million U.S. troops have served in Iraq since the invasion, and tens of thousands have shown signs of serious stress upon their return. "It's a subject we read about but certainly haven't dramatized very much," says Winkler, who came up with the idea after reading a magazine story nearly two years ago. As examples of the best screen dramas about wartime aftermath, the acclaimed filmmaker harks back to the Vietnam screen drama, "Coming Home" and "The Deer Hunter," and William Wyler's classic tale of troubled World War II veterans in "The Best Years of Our Lives". Winkler was taken with the unique stresses, both physical and psychological, that America's combat troops endure during warfare. Even in modern times, it was deemed that not enough attention was in place to help returning veterans cope with the stress of returning to civilian life, though the armed services are presently offering troops some programs for rehabilitation. HOME OF THE BRAVE follows four returning soldiers as they survive the ravages of war in a distant land and then try to come home to continue their lives. It was Robert Browning who said: "He who did well in war, earns the right to begin doing well in Peace." Many find that a difficult task. Samuel L. Jackson portrays a medical Captain, a surgeon who is tormented by lost lives he could not save in war and returns home not as the doctor he once was. In the role of a military cargo driver, Jessica Biel plays a woman who returns home to face the emotional and physical readjustment her wounds carry. Curtis "50 Cent" Jackson is cast in a tragic role as an army specialist haunted by the combat killing of an Iraqi woman who is unable to cope with his anger once he returns home to his friends and the young girl who once cared about him. Brian Presley, a specialist whose childhood best friend dies in his arms in Iraq, returns home to his sweetheart but is compelled to go back to war and support his comrades in their fight.

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Captain America: Brave New World

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• Sam Wilson …

• Isaiah Bradley

• Joaquin Torres …

• Presidential Aide

• Secret Service Agent #2

• White House Press
• (uncredited)
• All cast & crew
• Production, box office & more at IMDbPro

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• When will Captain America: Brave New World be released? Powered by Alexa
• February 14, 2025 (United States)
• United States
• Captain America 4
• Atlanta, Georgia, USA
• Marvel Studios
• The Walt Disney Company
• See more company credits at IMDbPro

Technical specs

• IMAX 6-Track
• Dolby Digital
• Dolby Atmos

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