When an aid worker vanishes in the first hours of war in Ukraine, a former Navy SEAL and CIA operative crosses into the shattered country to bring her home-facing mercenaries, shifting battle lines, and ghosts he thought he left behind.
If you’ve had enough of action films that seem as though they’ve been shot completely inside a computer, “Man of War” could give you a real sensation of freshness. The film is directed with a strong focus on traditional physical stunts, and even when the gunfire begins, it stays firmly grounded.
The story follows Michael Connor (LaMonica Garrett), a veteran operative who gets caught up in a covert operation that goes wrong. What begins as a normal extraction gradually turns into a cruel struggle for survival, with Michael and his small group trapped behind enemy lines while a nameless power broker controls the situation from a distance. Daniel Bernhardt stands out as the film’s villain—his presence is evident in every scene he appears in, and he gives the movie a real sense of danger. Although the plot is full of twists, it never reveals any spoilers. Yet, you’ll immediately recognize its overall structure from having seen a hundred military thrillers before: don’t trust anyone, and remember that survival is never guaranteed.
The way “Man of War” proves itself is through the action scenes. The movie makes heavy use of practical effects; the explosions look and sound genuine, and the gunfights have a fierce, up-close intensity. Director William Kaufman prefers real sweat and dirt over digital effects, a choice especially evident in the relentless final sequence, which delivers one of the more exciting climaxes in recent times. Garrett gives a completely believable performance as the worn-down yet unbreakable protagonist, and Bernhardt is the ideal contrast to him—he’s not merely a silly villain but a powerful physical presence.
Although it has a lot of physical strength, “Man of War” isn’t always accurate in its execution. The script relies heavily on conventional elements—rough dialogue, double-crosses obvious from a distance, and a general weariness that seems lifted directly from other, more successful films in the genre. The dialogue serves its function but never offers anything surprising. Some supporting performances also feel detached: Jason Patric, playing the remote handler, spends much of the film behind a screen and seems as detached as his character. A number of the film’s visual effects don’t quite match the practical ones, and the editing at times blurs the geographical setting of the chaos. While the film’s grey, lifeless appearance may be intended to give a rough, authentic look, it leaves large sections visually flat.
Ultimately, “Man of War” harks back to earlier styles—sometimes with advantages and sometimes without. It has a rugged, physical quality and is plain-spoken, supported by two excellent main characters and a conclusion that truly delivers. At the same time, it is affected by clichés and has several instances where you can see the seams. People who prefer tough, straightforward action will find plenty to like in it—just be aware that you won’t remember much about it once the excitement has died down.
Available on Blu-ray™ and DVD September 8th
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