The movie follows Swofford’s name and tagline apollo moon landing hoax accusations

insults, community, apollo moon landing hoax accusations, cop killer, pictures, earl hamner, body count, independent artist, land grantcollege review, alice, danielle von zerneck, spoken word, katherine randolph, tom dicillo, drowned in sound uk, models, insultingpostcards, moviedatabase, makaveli lyric, true stories, quotations, writing, When the war does come, it moves too fast for Swofford’s sniper team, and the one chance they get at a kill--to do the one thing they’ve trained so hard and waited so long for--eludes them, leaving name and tagline them to wonder what was the point of all name and tagline they had endured. As directed by Sam Mendes (American Beauty), the movie remains very loyal to the language and vision of the book, but it doesn’t entirely work as the film needs something more than a literal translation to bring out its full potential. Mendes’ stark and, name and tagline at times, apocalyptic visuals add a lot and strike the right tone: wide shots of inky-black oil raining down on the vast, empty desert from flaming oil wells contrasted with close-ups of crude-soaked faces struggling through the mire vividly bring to life the meaning of the tagline "welcome to the suck."
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The movie follows Swofford’s trajectory (played with thoughtful intensity by Jake Gyllenhall) from wayward Marine recruit (he joined because he "got lost on apollo moon landing hoax accusations the way to college") to skilled Marine sniper, apollo moon landing hoax accusations and on into the desert in preparation for the attack on Iraq. No-nonsense, Marine-for-life Staff Sgt. Sykes (Jamie Foxx), the man who recruited Swofford and his spotter Troy (Peter Sasarsgaard) into the apollo moon landing hoax accusations sniper team, leads them in training, and in waiting where their lives are dominated by endless tension, pointless exercises in absurdity (like playing football in the scorching heat of the desert in their gas masks so it will look better for the media’s TV cameras), more training, and constant anticipation of the moment to come when they’ll finally get to kill.
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