THANK YOU FOR YOUR SERVICE – Review

(L to R) Adam Schumann (MILES TELLER), Solo Aeiti (BEULAH KOALE) and Will Waller (JOE COLE) in DreamWorks Pictures’ “Thank You for Your Service.” The drama follows a group of U.S. soldiers returning from Iraq who struggle to integrate back into family and civilian life, while living with the memory of a war that threatens to destroy them long after they’ve left the battlefield. Photo Credit: Francois Duhamel/DreamWorks Pictures. COPYRIGHT © Storyteller Distribution Co., LLC

Not all wounds suffered in war are obvious. The fog of war is replaced by the fog of the VA for a band of soldiers returned from Iraq in THANK YOU FOR YOUR SERVICE. While several films have depicted the experience of soldiers in the Iraq War, few have told the story of their experience after they return home. THANK YOU FOR YOUR SERVICE focuses on gritty reality rather than comforting patriotism as it follows a handful of Iraq War veterans coping with a military that seems far less responsive as they move from soldiers to veterans, and as they struggle to adjust to a civilian life where those who lost a leg are recognized but less so those suffering the wounds of PTSD.

Other Iraq war films have focused on the experience of war but THANK YOU FOR YOUR SERVICE spotlights the obligation of the military to soldiers as they transition to veterans. Miles Teller delivers a sterling performance as Adam Schumann, the de facto leader of this close-knit group. Among this band of brothers are Tausolo Aieti (Beulah Koale), Billy Waller (Joe Cole) And Michael Emory (Scott Haze). On the flight home, they jokes and tease, talk about their plans for the future, and seem eager to get back to civilian life. But part of it is a brave front to cover up troubling problems or even pure fantasy. As they shed their uniforms, a new battle begins.

A new reality greets them as soon as they land, when Schumann’s wife Saskia (Haley Bennett) meets him in the company of her best friend Amanda (Amy Schumer, in a rare dramatic role), the widow of one of the group who didn’t make it home. Amanda is desperate for details on her husband’s death, something Teller’s Schumann is equally desperate to avoid talking about.

The cast also includes Keisha Castle-Hughes, Brad Beyer, Omar J. Dorsey, and Jayson Warner Smith. Cinematography by Roman Vasyanov adds a surprising beauty to ordinary settings, and helps draw out the inner conflicts the men are struggling with.

Writer/director Jason Hall takes a direct, head-on approach to the challenges these vets face, which makes it clear his sympathies lie with these soldiers rather than the system or superior offices. Based on journalist David Finkel’s Pulitzer Prize-winning book, this film has a far different tone from his last film, AMERICAN SNIPER. Those who disliked that film may find this one more involving and insightful, while those who embraced the earlier film may not care for its hard-hitting stance on the treatment of veterans by the military.

One of the first parts of that battle is just the transition from active military to veteran. The military is glad to have them re-enlist and walk them through every step but when it comes to even getting the card to get the veterans benefits they are owed, the men find themselves waiting in huge room of fellow soldiers, facing a bewildering system of forms and with no one to guide them. It is a lot to ask of someone suffering from PTSD and accustomed to military efficiency. On the streets, their uniforms draw thank-yous but no practical help. Once out of uniform and with no obvious wounds, they are expected to fit in with the unforgiving pace of a society that has moved forward without them.

The sympathies of this moving drama are with the returning soldiers rather than military or government they served. When striking scene has Teller’s Schumann in the office of commanding officer that is supposed to be helping him get treatment for his PTSD. While the officer seems like his is going to help, his focus keeps drifting to the online shopping he is doing while trying to help Schumann. It is a perfect illustration of a flawed system, where even personal attention is some how impersonal. The search for help is vital to Schumann but just routine to the officer, no matter how well-meaning he may be.

As the drama builds, all these soldiers go on their own rocky journeys, often trying to tough through on their own. Schumann continues to play a protective role towards the others as he did in Iraq but finally he has to confront his own demons.

Much of why this film works emotionally as well as it does (and it does work better than many recent war films) is due to Miles Teller’s strong, layered performance. Teller has shown himself to be an acting power house in films such as WHIPLASH and THE SPECTACULAR NOW, and here he shows his range in a role of both quiet strength and complex human feelings. The ensemble cast blend well, each adding their own distinct thread, but Teller’s performance is the linchpin.

Although the story is set during the Iraq War, the story is universal one for returning soldiers in modern America. While every veteran’s experience is unique, the film points to some significant weaknesses in the country’s treatment of those who served in war. The U.S. military is very good at war but THANK YOU FOR YOUR SERVICE makes clear it needs some improvement in how those who served are returned to civilian life.

RATING: 4 out of 5 stars