Unlimitedia Sick Product of a Sick System

GurlyIamBeach Instant Favorite.

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Usamah Harvey The film's masterful storytelling did its job. The message was clear. No need to overdo.

ryanarhoads While many of the reviews were mediocre this time around Junger focused on the Combat Veterans out there. This really drove home many of the emotions and feeling soldiers experience. The boredom, adrenaline, and at times hopelessness and futility. For the general public who has never been in this situation I would recommend watching Restreppo and use that as a reference. For soldiers that have experienced this type of situation, this is the film for you. It was nice seeing many of the same soldiers I served with in this film. The overall flow is very inconsistent and that is really also the way it feels while you are facing time in the suck. There are times when the soldiers are gun ho to the point of zealotry. This is an actual tactic many use to keep themselves moving each and every day. War is a wide plethora of emotions that can change in an instant. This is a real example of just that.

grantss Strangely unengaging documentary.Korengal follows the lives of a company of US Army soldiers stationed at an outpost in Afghanistan in 2007-8. It is the sequel to Restrepo, which was nominated for a Best Documentary Oscar in 2011.Maybe it is because I haven't seen Restrepo (yet), but this documentary just doesn't work for me. It doesn't do much wrong - there is a good mix of interviews and live action footage and there is a degree of conclusiveness to it all. Yet I wasn't engaged. The whole thing just seemed to plod along and I didn't feel any real affinity towards the soldiers.There is also a large degree of gung-ho-ness and bravado, which is a bit off-putting. The movie doesn't feel balanced enough. Maybe that's the problem.

SnoopyStyle Director Sebastian Junger tries to add more depth to the documentary Restrepo he made with Tim Hetherington. In the meanwhile, Tim dies while filming in Misurata, Libya. This one delves more into the troops' feeling and the war's effectives on them. For me, it touches on too much of the same subject. It's the same place at the same time. Restrepo came earlier and feels more immediate. It was closer to the events and was more visceral. I appreciate the attempt to dive deeper into this world. I would suggest concentrating on one or two characters. It would allow the audience to truly track the development and the change in these troops over time. The footage may not be there but they could do interviews with some of these guys back home. It is eye opening to see everybody say that they rather be back in the Korengal valley. However the movie really needs the 'Where are they now?' segments.

uptonian 2010's Restrepo brought the Afghanistan War in to peoples' homes, bearing visceral shots and the raw emotion of modern warfare. Photojournalist Tim Heatherington and Sebastian Junger spent ten months with Combat Outpost (COP) Restrepo's "Battle Company" reaping an inordinate amount of footage. More footage than they could place into the first documentary. A year later, Heatherington would be dead; killed by shrapnel whilst covering the 2011 Libyan Civil War. Junger felt that the copious amount of footage leftover from Restrepo lent itself to another film. Thusly, Korengal, a companion film, was born.Where the prior of the pair seemed aimed to illustrate Chris Hedge's 2002 quote, "The rush of battle is a potent and often lethal addiction, for war is a drug, one I ingested for many years," the latter shoots to exploit a more poignant and familial sense from the footage and interviews. For those familiar with Restrepo, do not expect anything revolutionary here. What you will be seeing is footage shot during the same time period (2007-2008) using the same equipment. That said, this is in no way a strike against the film. Junger fares well in his organization of the footage and new interviews. This is an altogether new narrative.As a piece of war journalism, it stands out as a worthy companion piece to the first film, not only elaborating on notions explored in Restrepo's 93 minute running time, but introducing new and arguably more meaningful elements. Junger succeeds in revisiting their footage, and bringing freshness to what could have become a dull supercut of Restrepo's outtakes in another man's hands. It's a damn shame Heatherington wasn't around to see this complete vision of the creation he and Junger set out upon in 2007. These two pictures have set the standard for war journalism, and will hopefully usher in a new era of the discipline.