Friendo: “So Civil War is woke-infused propaganda masquerading as neutral drama. And the only ones calling it ‘even handed’ are likely woke as fuck. Correct?”

HE: Mostly correct, yes, although it’s not really “woke-infused propaganda,” although it could be so argued in certain respects.

My first major thought upon leaving the theatre last night was that the lying–by–omission on the part of many if not most of the South by Southwest critics is fairly shocking. Some of those bastards flat–out lied through their teeth.

What the final third of Civil War boils down to is an anti-Trump and anti-MAGA jeremiad. The finale of Alex Garland’s dystopian war film really hates with a capital H, and you can’t help but admire it for not softening the tone or diluting the rage. Call it morally ironic if you want…I don’t care.

The ending is so arousing that I almost experienced a boner.

Apart from a curious, less-than-involving focus upon the two leading photo-journalist characters (Kirsten Dunst’s hard-bitten veteran and Cailee Spaeny’s young and emotionally-driven pup), the first two-thirds seem to be mostly even-handed and matter-of-fact in a Battle of Algiers way.

But when the already notorious Jesse Plemons scene (around the 60 or 65-minute mark) arrives, and especially when the big finale happens, it totally becomes a “hooray and goo-rah for the lefty rebels!” thing, and that’s all there is to it.

Okay, you can argue “but it’s full of tragedy and irony and horrible devastation so how can you call it a ‘hooray for the lefties!’ thing?” Yes, it is rife with somber, morally ambiguous irony, but Civil War certainly reveals its true colors at the end.

It also shows a certain significant character to be a weeping, whimpering coward, and I for one think it’s truly wonderful for this.