Before someone starts talking about β€œCivil War II,” see the original.

Available on streaming and soon, DVD, it’s an interesting look at a divided country where highways are open battlefields.

Obviously playing off the attempt to change the results of the last presidential election, director Alex Garland suggests Texas and California have joined forces to take on the rest of the country. Their people are everywhere, though we don’t know who’s on what side because they don’t wear uniforms or drive marked cars. They simply lurk.

Our guides into this world are four journalists, hoping to get to Washington to see the president (played by Nick Offerman). They figure they’ll have the β€œget” of the century and, somehow, a place in history.

Kirsten Dunst in a scene from "Civil War."

What isn’t so obvious is why this matters or why the warring factions aren’t more interested in stopping a white vehicle with β€œpress” written all over it.

The four – played by Kirsten Dunst, Cailee Spaeny, Stephen McKinley Henderson and Wagner Moura – make like soldiers embedded in some far-flung battle. They maneuver through hostile towns, slip into a North Pole-like amusement park and encounter other journalists hoping to land the same images. It’s an interesting journey but Garland skimps on the backstory. We know Dunst is a photographer of note, Moura is her β€œwords” man and Henderson is a grizzled veteran. But Spaeny (who last starred in β€œPriscilla”) is a question mark, hoping to learn from the masters on this – of all – stories. She still soups film, too, and shoots black-and-white images. Where all that film goes is anyone’s guess but β€œCivil War” hints at some ending that never really comes. This is simply a journey to D.C.

Dunst has the world-weary look of a war vet; Moura is great at saying the right things. Spaeny is merely a plot device that gives the others pause. You can tell this won’t go well for all of them but it does have potential to blossom into something greater – not unlike β€œGet Out.”

Garland peppers the film with the photographs they shoot; some are strong, others should have been left on a contact sheet. And Jesse Plemons is a revelation as a soldier. He slips in, makes a great impression, then exits. Brilliant.

When the four get to a β€œBonnie & Clyde” like shoot-out, β€œCivil War” hits a high that almost redeems the film’s lack of passion. Because we don’t know much about the circumstances, we’re unable to take a side or understand the mindset of the media.

A reporter might appreciate the lengths the four go to, but an outsider wouldn’t be able to make anything of their heroics. Similarly, the film needs a prequel that could explain why two states decided to take on 48.

If anything, β€œCivil War” tries to show us how it looks when Americans sweep into a country but have no concept of the war they’re fighting.

It’s fascinating but also disturbing.

Dunst is, as always, extremely good. She redeems the questionable moments and makes us care about her journey, no matter how misguided it may be. Pictures she and Spaeny supposed shot would make a great companion piece to this β€œGet Out”-like film.


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Β Bruce Miller is editor of the Sioux City Journal.Β