Director: Andrew Niccol
Cast: Ethan Hawke, Bruce Greenwood, January Jones, Zoë Kravitz
Certificate: 15
Running Time: 102 min
With Andrew Niccol’s (Lord Of War, In Time) focus firmly fixed on the contentious and unfamiliar world of drone pilots, Good Kill reunites the writer-director with his Gattaca star Ethan Hawke (Training Day, Sinister), to evoke concerns about the use of drone technology and morality in war.
Set it the scorched landscape of a Las Vegas airbase, Good Kill follows the life of fighter-pilot turned drone-pilot Major Thomas Egan (Ethan Hawke) as he fights the Taliban via remote control for half of his day, before going home to his wife (January Jones) and kids for the other. Perpetually distant at home and increasingly reliant on alcohol, Egan’s psychological strain only intensifies when his team – led by Lt. Colonel Jack Johns (Bruce Greenwood) – is placed in the hands of new CIA masters, unshackled from the routine rules of engagement they’re accustomed to. As the teams’ morals begin to be compromised, Egan and new recruit Airman Vera Suarez (Zoë Kravitz) begin to ask themselves serious questions about their mission.
Whilst the film focuses on drone warfare, Good Kill is ultimately about the human and moral implications of the technology, rather than the tech itself. With strong performances all-round, the characters draw you into this controversial topic from a range of angles; from Jones’ understated performance as wife Molly – attempting to support her husband whilst coming to terms with the gradual breakdown of their marriage – to Greenwood’s sympathetic, jaded but ultimately professional Johns, the cast all play their part in fleshing out this unknown world.
However it’s Ethan Hawke’s Egan who drives the film forward, painting a believable image of a military man who, despite attempting to detach himself from his work, is struggling under the psychological burdens he’s ordered to shoulder. It’s another great performance from Hawke, who’s portrayal of Egan’s steady descent is balanced perfectly to maintain the viewers’ sympathy both for him and those he affects. Good Kill is also effective in its use of the drone-camera visuals as the eerily muted action takes place, and at times harrowing – despite the relative detachment this viewpoint provides – highlighting the sorts of trauma drone-pilots must go through on a regular basis.
There are a couple of slight missteps, with some of the views expressed by supporting characters and a subplot about an abused woman feeling a little clichéd, but they are minor complaints that detract little from this poignant film.
Striking in it’s examination of the morals of drone warfare, the quality of military intelligence and the manner in which it’s acted upon, Good Kill also highlights the potentially thin line between terrorists and peacekeepers in times of war. The movie never claims to have definitive answers to these questions and avoids being overly theatrical in the way it poses them, instead leaving the audience to consider them long after it has finished.
Good Kill is available to buy on Blu-Ray and DVD now. We also spoke to Bruce Greenwood about his role in the film – Read it here.
