×

Tribeca Film Review: ‘The Kill Team’

An American soldier in Afghanistan copes with his squad’s murderous conduct in Dan Krauss’ drama, based on his documentary of the same name.

Director:
Dan Krauss
With:
Nat Wolff, Alexander Skarsgård, Adam Long, Jonathan Whitesell, Brian “Sene” Marc, Rob Morrow.

Rated R  1 hour 27 minutes

Official Site: https://www.imdb.com/title/tt6196936/

Atrocities don’t exist in a vacuum, and “The Kill Team” is most valuable — and chillingly effective — as an exposé of the means by which honorable young military men grow comfortable with perpetrating heinous crimes. Based on his 2013 documentary of the same name (and, thus, a true story), writer-director Dan Krauss’ narrative retelling depicts the methodical murderous inculcation of a young American soldier in 2010 Afghanistan, led by a committed performance from Nat Wolff and a scarily sociopathic Alexander Skarsgård. Those star turns should help make the difficult film an easier sell to mainstream audiences when, after its Tribeca Film Festival premiere, it receives a theatrical release courtesy of A24.

As with the earlier nonfiction version, Krauss’ film concerns the Maywand District murders, in which a “kill team” of U.S. soldiers stationed in the Kandahar Valley executed a number of Afghan civilians and then covered up their crimes by staging the scenes to look like attacks. The writer/director doesn’t deviate from the facts of the case, but he has changed its players’ names, beginning with protagonist Andrew Briggman (Wolff). Eager to make a difference, he’s a typical rah-rah kid, albeit one with a conscience that won’t keep quiet. Its voice grows louder after the arrival of new Staff Sergeant Deeks (Skarsgård), who unlike his predecessor, isn’t interested in winning hearts and minds so much as eradicating any threats to his men’s safety.

With a cool, calm demeanor that belies his sadistic tendencies (initially hinted at via his leg tattoos, which denote his numerous kills), Skarsgard’s Deeks is a slyly sinister authority figure. “The Kill Team” spends its first half dramatizing how Deeks’ conduct — and the situation at hand — repeatedly pushes Briggman to think that a homicidal ethos is not only justified, but warranted. “We kill people. That’s what we do,” Deeks counsels his young charges, while initiating their assignments with comments like, “Good hunting!” and, “Who’s ready to have some fun?” By casting their behavior as both enjoyable and writing-history noble, Deeks reinforces the idea that slaughter is okay and, moreover, righteous — a notion bolstered by the routine sight of mutilated soldiers, as well as anecdotes about normal-looking Arab families driving cars full of explosives.

Those impressions soon compel Briggman to accept his comrade’s comment, “You don’t win a war zip-tying people,” which has already been taken to heart by fellow grunt Rayburn (Adam Long). “The Kill Team” is best when plumbing the psychological stew that begat the Maywand District murders, as Briggman’s mounting disapproval of his squad’s tactics is muddled by his jealousy over Deeks’ selection of Rayburn as his new pet, and also his own fear — once he begins messaging his former Marine dad (Rob Morrow) about what’s taking place — of being discovered as a rat. Complicity soon follows, further complicating matters.

As Briggman’s paranoia escalates, so too does “The Kill Team’s” suspense, although not enough to push the material into truly harrowing territory. Stéphane Fontaine’s cinematographic vision of this arid landscape is relatively familiar and straightforward, and Zacarías M. de la Riva’s score is most notable during those rare moments when it strains too hard to elicit an emotional response. Those familiar with this story won’t find any novel twists here, but Krauss astutely conveys the literal and moral quagmires produced by such military situations. In that cause, he’s aided by an increasingly disillusioned, confused, and terrified Wolff, and an intensely menacing Skarsgård, who — flashing spiteful smiles beneath a ’70s-era mustache, and exuding a relaxed confidence that belies his coiled-spring viciousness — proves that wickedness sometimes comes in friendly fatherly packages.

Tribeca Film Review: 'The Kill Team'

Reviewed at the Tribeca Film Festival (Spotlight Narrative), April 29, 2019. MPAA Rating: R. Running time: 87 MIN.

Production: An A24 release of a Corner Stone Films, Temple Hill Entertainment, Nostromo Pictures production. Producers: Adrián Guerra, Isaac Klausner, Marty Bowen, Wyck Godfrey. Executive producers: Dan Krauss, Miguel Angel Faura, Núria Valls, Alison Thompson, Mark Gooder. Co-producer: Ben Smith.

Crew: Director, writer: Dan Krauss. Camera (color, widescreen, HD): Stéphane Fontaine. Editor: Franklin Peterson. Music: Zacarías M. de la Riva.

With: Nat Wolff, Alexander Skarsgård, Adam Long, Jonathan Whitesell, Brian “Sene” Marc, Rob Morrow.

More Film

  • Sean AstinCritics' Choice Awards, Arrivals, Los

    Film News Roundup: Sean Astin Cast in 'Mayfields Game,' 'Charming the Hearts of Men'

    In today’s film news roundup, Sean Astin gets two roles, two “Peanuts” movies are set for release, “One Last Night” gets distribution and Brian De Palma gets honored. CASTINGS More Reviews Concert Review: Definitely We're Amazed by Paul McCartney's Blowout Dodger Stadium Show TV Review: 'Veronica Mars' Season 4 Sean Astin has been cast in [...]

  • Dwayne Johnson Idris Elba

    Dwayne Johnson: Idris Elba Nixed 'Black James Bond' Joke in 'Hobbs & Shaw'

    In the “Fast & Furious Presents Hobbs & Shaw,” the movie’s villain Brixton, played by Idris Elba, spreads his arms out wide and declares “I’m black Superman.” It turns out that might not have been the original line. More Reviews Concert Review: Definitely We're Amazed by Paul McCartney's Blowout Dodger Stadium Show TV Review: 'Veronica [...]

  • Justin Baldoni

    Justin Baldoni Developing 'It Ends With Us' Romance Movie

    “Jane the Virgin” Star Justin Baldoni is adapting Colleen Hoover’s romance novel “It Ends With Us” for film through his Wayfarer Entertainment company. Baldoni announced Monday that he had optioned the project on his Instagram account. “It Ends With Us” first published in 2016 and follows a young woman through the tumultuous stages of an [...]

  • Matteo BocelliAmerican Icon Awards Gala, Inside,

    Top Music Manager Calls Out American Icon Awards for Failing to Pay Talent

    The centuries-old adage no good deed goes unpunished is a common refrain for star music manager Scott Rodger of late. Rodger, who represents Paul McCartney and Andrea Bocelli at Maverick, says his client Matteo Bocelli, the son of the opera star, was stiffed out of promised expense reimbursement by the American Icon Awards. The event, [...]

More From Our Brands

Access exclusive content