What’s It About
When a Delta Force team is ambushed in enemy territory, a rookie officer refuses to abandon them. Their only hope lies with an Air Force drone pilot as the eyes in the sky during a brutal 48-hour battle for survival.
MOVIESinMO REVIEW
Land of Bad primarily captures attention with its focus on Air Force Sergeant J.J. “Playboy” Kinney, portrayed with a convincing blend of capability and naivety by Liam Hemsworth. Hemsworth’s portrayal anchors the film, bringing to life the action hero with a believability that’s bolstered by meticulously choreographed action sequences and adept filmmaking. His counterpart, Russell Crowe, steps into the shoes of Captain Eddie “Reaper” Grimm, a drone pilot whose expertise in the field contrasts with his socially awkward demeanor. Despite Crowe’s skillful performance, his character’s less likable traits and the film’s heavy-handed messaging about military bureaucracy detract from the overall experience. The narrative thrust of Land of Bad revolves around Kinney’s dangerous mission to extract a CIA operative from the clutches of a notorious arms dealer under the remote guidance of Grimm. The film, however, often diverges into a critique of the American military system and modern combat’s impersonal nature, weaving a complex tapestry that at times loses the thread of its core action. These thematic explorations, while ambitious, tend to muddle the movie’s pace and dilute its focus. Director William Eubank demonstrates an apparent proficiency in crafting visually striking action sequences, a talent previously showcased in his work on Underwater. The action scenes in Land of Bad, characterized by dynamic lighting and pacing, stand out as highlights, providing a visceral counterpoint to the film’s more didactic moments. An especially memorable missile strike scene exemplifies Eubank’s ability to deliver high-octane excitement amidst a narrative that occasionally veers into the preachy. Yet, for all its kinetic thrills, Land of Bad stumbles in its character-driven subplots, particularly in the extensive detailing of Grimm’s quirks and life outside the military. These forays into character backstory and development, intended to add depth, often feel superfluous, slowing the narrative and diluting the film’s focus on the central rescue mission. With his peculiar habits and strained interactions, Crowe’s Grimm exemplifies this imbalance, overshadowing the film’s action with unnecessary complexity. Set against the backdrop of 21st-century warfare, Land of Bad offers a commentary on the intersection of technology and combat, exploring the dehumanizing aspects of drone warfare. However, its execution is marred by an inconsistent tone and a tendency to overemphasize its message at the expense of narrative coherence. The antagonists, depicted with a near-cartoonish hostility, and the film’s attempt to humanize its protagonists through clunky dialogue and forced humor further contribute to a sense of unevenness. Land of Bad presents a mixed bag in its attempt to blend action with a critique of military practices and modern warfare. While it succeeds in delivering moments of genuine thrill and visual spectacle, its impact is weakened by a convoluted narrative and an overabundance of character exposition. The film navigates a precarious line between action-packed entertainment and socio-political commentary, ultimately reflecting on the challenges of marrying these elements into a coherent and engaging cinematic experience.
OUR RATING – A HEMSWORTH 6