In the near future, a group of war journalists attempt to survive while reporting the truth as the United States stands on the brink of civil war.

Credits: TheMovieDb.

Film Cast:

• Lee: Kirsten Dunst
• Joel: Wagner Moura
• Jessie: Cailee Spaeny
• Sammy: Stephen McKinley Henderson
• Tony: Nelson Lee
• President: Nick Offerman
• Dave: Jefferson White
• Bohai: Evan Lai
• Concierge: Vince Pisani
• American Soldier (Middle East): Justin James Boykin
• Checkpoint Soldier: Jess Matney
• Pete: Greg Hill
• Eddie: Edmund Donovan
• Anya: Sonoya Mizuno
• Hanging Captive: Tim James
• Commercial Soldier Mike: Simeon Freeman
• Commercial Corporal: James Yaegashi
• Commerical Soldier #1: Dean Grimes
• Aid Worker Refugee Camp: Alexa Mansour
• Elderly Woman: Martha B. Knighton
• Shop Assistant: Melissa Saint-Amand
• Spotter: Karl Glusman
• Sniper: Jin Ha
• WF White House Sergeant: Jojo T. Gibbs
• WF White House Assaulter #1: Jared Shaw
• WF White House Assaulter #2: Justin Garza
• WF White House Assaulter #3: Brian Philpot
• WF White House Assaulter #4: Tywaun Tornes
• Joy Butler: Juani Feliz
• Militia Soldier (uncredited): Jesse Plemons
• SFC Brown (uncredited): Jeff Bosley
• WF Marine (uncredited): Ryan Austin Bryant
• Injured Marine (uncredited): Brent Moorer Gaskins
• Secret Service Agent (uncredited): Evan Holtzman
• Dying Refugee (uncredited): Cora Maple Lindell
• Refugee (uncredited): Temper Lavigne
• Brooklyn Protester (uncredited): Miles Johnson
• Western Forces Marine / Flag Detail (uncredited): Kevin Kedgley
• Soldier (uncredited): Timothy LaForce
• Soldier (uncredited): Randy S. Love
• Soldier (uncredited): Cody Marshall
• Female Army Soldier (uncredited): LePrix Robinson
• Marine (uncredited): Easy Ian Radcliffe
• Riot Police / Army Soldier (uncredited): Ernest ‘Scooby’ Rogers
• Guard Marine (uncredited): Daniel Patrick Shook
• US Marine (uncredited): Vinnie Varon
• War Journalist (uncredited): Jaclyn White
• Marine (uncredited): Robert Tinsley

Film Crew:

• Producer: Andrew Macdonald
• Producer: Allon Reich
• Producer: Gregory Goodman
• Writer: Alex Garland
• Director of Photography: Rob Hardy
• Editor: Jake Roberts
• Production Design: Caty Maxey
• Art Direction: Mark Dillon
• Art Direction: Jason Vigdor
• Set Decoration: Lizbeth Ayala
• Costume Design: Meghan Kasperlik
• Key Hair Stylist: Deena Adair
• Makeup Artist: Alex Breijak
• Hairstylist: Crystal Broedel
• Makeup Department Head: Ashley Levy
• Hair Department Head: Amy Wood
• Special Effects Coordinator: Lee Alan McConnell
• Special Effects Supervisor: J.D. Schwalm
• Pyrotechnician: Mike Prawitz
• Visual Effects Producer: Michelle Rose
• Stunt Coordinator: Jeffrey J. Dashnaw
• Stunts: Janelle Beaudry
• Stunt Double: Christian Brunetti
• Stunt Double: Luis Fernández
• Stunts: Jeff Galpin
• Stunt Double: Tyler Galpin
• Stunt Double: Crystal Hooks
• Stunts: Remington Steele
• Stunts: Ryan Staats
• Stunts: Felipe Savahge
• Stunts: John Santiago
• Stunts: Dalton Rondell
• Stunts: Adam Rivette
• ADR Recordist: Jennie Shea
• Foley Editor: Robby Brown
• Foley Artist: Zoe Freed
• Sound Effects Editor: Danny Freemantle
• Sound Designer: Glenn Freemantle
• Sound Effects Editor: Nick Freemantle
• Foley Mixer: Glen Gathard
• Dialogue Editor: Naomi Graham
• Foley Artist: Rebecca Heathcote
• Sound Effects Editor: Dayo James
• Sound Effects Editor: Robert Malone
• Dialogue Editor: Ian Morgan
• ADR Mixer: Chris Navarro
• Costume Supervisor: Stephanie Logan
• Best Boy Grip: Richard Arnold
• Lighting Technician: William Justin Aycock
• Electrician: Zach Beahan
• Dolly Grip: Kelly R. Borisy
• “B” Camera Operator: Hugh Braselton
• Lighting Technician: Coy Breaux
• Grip: Michael Cape
• Still Photographer: Murray Close
• Rigging Grip: Sam Coody
• Rigging Gaffer: Brian Dennis
• Video Assist Operator: Fred Duffer
• “C” Camera Operator: Chris DuMont
• Dolly Grip: Mike Flores
• Rigging Grip: Stoy Fulcher
• Aerial Director of Photography: Dylan Goss
• First Assistant “B” Camera: Daniel Guadalupe
• Second Assistant “C” Camera: Grayson Guldenschuh
• Second Assistant “A” Camera: Matthew Haskins
• Gaffer: Todd Heater
• Rigging Grip: Jeremy Hereford
• Rigging Grip: Nicole Higgins
• Additional Grip: Mat Irby
• Camera Technician: Breona Jones
• Grip: Stephen Lamb
• First Assistant Camera: Jason Lancour
• Lighting Technician: Bruce Leefook
• Lighting Technician: Joseph Mason
• Video Assist Operator: Adam Meadows
• Lighting Technician: Dehaven Moore
• Rigging Grip: Tony Murima
• Drone Pilot: Louie Northern
• Electrician: Beaux Petit
• Key Grip: Mackie Roberts
• Grip: Tori Roloson
• Grip: Logan Russell
• Electrician: Terrance Smalls
• Focus Puller: Don Steinberg
• Camera Operator: David J. Thompson
• Rigging Grip: Rick Turner
• Assistant Chief Lighting Technician: Jeff Wallace
• Casting Assistant: Kaley Boerneke
• Extras Casting: Yasmeen Griffin
• Extras Casting: Laura Mengoni
• Set Costumer: Stacia P Clarke
• Costumer: Madison Divergilio
• Costume Coordinator: Kassia Dombroski
• Costumer: Brianne Freeman
• Set Costumer: Megan Fudge
• Set Costumer: Benj Gibicsar
• Costumer: Emily Good
• Assistant Costume Designer: Jennifer Hryniw
• Tailor: Jared B. Leese
• Dailies Operator: Chelyse Abrams
• First Assistant Editor: Jens Baylis
• Digital Intermediate: Johnathan Wei Dickinson
• Dailies Operator: Heidi Jacobo
• Online Editor: Gareth Parry
• Digital Intermediate Producer: Alan Pritt
• Dailies Operator: Noah Rodden
• Assistant Editor: Sam Shelton
• Digital Intermediate Colorist: Asa Shoul
• Assistant Editor: Saffron Weaver
• Location Production Assistant: Austin Armstrong
• Location Scout: Andrew Devlin
• Location Assistant: Lindsay Henefer
• Assistant Location Manager: James Billy Hill III
• Assistant Location Manager: Lowell Lambert
• Assistant Location Manager: Hana Lowe
• Location Manager: Kellie Morrison
• Assistant Location Manager: Melissa Mortensen
• Assistant Location Manager: Cherie New
• Location Assistant: Alex Olino
• Assistant Location Manager: Angeline Santivasci
• Location Coordinator: Daniel Sortet
• Assistant Location Manager: Jeff D Williams
• Assistant Location Manager: Michael Woodruff
• Music Supervisor: Simon Astall
• Music Editor: Rachel Park
• Script Supervisor: Amber Harley
• Makeup Artist: Natasha Negron
• Makeup Artist: Alex-Michael Petty
• Makeup Artist: Carla Wallace
• Post Production Consulting: Clare St. John
• Unit Production Manager: Kenneth Yu
• Second Assistant Director: Craig Comstock
• Production Assistant: Chayse Banks
• First Assistant Director: Eric Heffron
• Second Second Assistant Director: Gregory Santoro
• Scenic Artist: Suzanne Bonanno
• Set Decoration: Darby Abraham
• Set Dresser: Dan Branciforti
• Assistant Property Master: Lawson Bruen
• Set Dresser: Brett Fahle
• Construction Coordinator: Christopher Ferris
• Leadman: Nelson Hagood
• Props: Kelly Harrell
• Art Department Assistant: Madelyn Kahn
• Art Department Coordinator: Pike Kanjanampa
• Armorer: Tyrone Lee
• Assistant Art Director: Alexander Linde
• Storyboard Artist: Jim Magdaleno
• Set Dresser: Emily Minnick
• Assistant Art Director: Brynna Norvell
• Armorer: Dan Riker
• Property Master: John Sanders
• On Set Dresser: Brian Calvin Smith
• Set Dresser: Zack Timms
• Set Designer: Willow Watson
• Supervising Sound Editor: Ben Barker
• ADR Recordist: Jennie Breckenridge
• ADR Editor: Gillian Dodders
• Driver: Chico L. Jones
• Driver: Charles Skip McCoy
• Transportation Coordinator: Huelon F. Thrift Jr.
• Production Assistant: Hannah Brunner
• Post Production Accountant: Tarn Harper
• Production Assistant: Carson Hicks
• Production Assistant: Justin Holt
• Assistant Production Coordinator: Jenny Kissoon
• Production Assistant: Samantha Krupica
• Production Assistant: Grant Lafferty
• Casting Assistant: Jakaila Langston
• Production Assistant: Travis Meguire
• Production Assistant: Margaret Moore
• Production Secretary: Josh Melo
• Production Coordinator: Marjorie Rudick
• Title Designer: Matt Curtis
• Technical Advisor: Ray Mendoza
• Original Music Composer: Geoff Barrow
• Original Music Composer: Ben Salisbury
• Executive Producer: Elisa Alvares
• Executive Producer: Timo Argillander
• Special Effects Technician: Landon K. Smith
• Special Effects Technician: Jeremy Zamora
• Special Effects Technician: Frederick Mac Browne
• Visual Effects Producer: Austin Aplin
• VFX Artist: Lee Barraclough
• VFX Artist: Anthony Lowe
• VFX Artist: Fraser Murdoch
• VFX Artist: Alex Rabbitt
• Visual Effects Supervisor: David Simpson
• VFX Artist: Artem Smirnov
• Casting: Francine Maisler
• Stunts: Dylan Hice
• Stunts: Justin Hall
• Stunts: Linda Kessler
• Stunts: T. Ryan Mooney
• Stunts: Chris Romrell
• Stunts: Randy James Beckman
• Stunts: Sean Paul Braud
• Stunts: Brandon Beckman
• Stunts: Gianni Biasetti Jr.
• Stunts: Branden Arnold
• Additional Second Assistant Director: Alex Martini
• Executive In Charge Of Production: Corey Deckler

Movie Reviews:

• Manuel São Bento: FULL SPOILER-FREE REVIEW @
• “Civil War attests to Alex Garland’s fascinating ability to create impactful narratives that provoke deep discussions, beyond his unwavering commitment to the themes and characters at hand, without falling into preachy stances.
• A film that transcends political boundaries, focusing on war journalism, the moral dilemmas faced by those who risk their lives to tell stories that cannot be ignored, and the personal transformation necessary to carry out such an inhuman task. The character complexity and the chilling intensity of the cinematography and sound production contribute to a powerfully engaging, repeatedly shocking audiovisual experience.
• It’s a tribute to a profession often forgotten, but equally a challenge for viewers to reflect on critical issues in contemporary society.”
• Rating: A-
• r96sk: Terrific movie!
• ‘Civil War’ is a blast from beginning to end, I enjoyed everything about it to be honest. It features an interesting story that is told with excellence. My biggest takeaway is the sound design, which is outstanding; literally from the first seconds post-BBFC black card.
• It is paced absolutely spot on, the end comes around so quick; probably because I was hooked. The cast do great jobs. Obvious credit to Kirsten Dunst, Wagner Moura and Stephen McKinley Henderson, they are all ace. Cailee Spaeny is my personal standout though, what an excellent showing from her!
• Engrossing viewing. Highly recommended. Very much want to rewatch it already.
• CinemaSerf: Nope, sorry, this just didn’t work for me. It appears that there is a civil war amongst these United States. California and Texas have seceded from the Union and Florida seems to be having a wobble too. The President (Nick Offerman) makes a speech assuring the rest of his country that they’ve nothing to worry about, but hardened photo-journalist “Lee” (Kirsten Dunst) and her cohort “Joel” (Wagner Moura) reckon that the conflict is quite likely to come to an altogether different conclusion. They bravely decide to travel the 800-odd miles to Washington DC to try and interview him. Their out-of-shape veteran associate “Sammy” (Stephen McKinley Henderson) thinks they are mad, but also wants in on the trip. Meantime, the enthusiastic young photographer “Jessie” (Cailee Spaeny) has managed to hook up with the team and so, rather implausibly, they agree to take her on this perilous journey. It’s that implausibility that carries the whole thing as the completely preposterous scenario unfolds before us. No effort is made to fill us in on the cause of this warfare. Did the President seize power? Was he elected from a party these states didn’t vote for? Are they just brutal and well armed revolutionaries? Then we have the ridiculous dialogue – usually from Henderson with his “always take fuel when you can” or “this way only leads to death” type profundities as the group travel through a remarkably stable, well fuelled and provisioned, nation where there’s hardly the merest hint of mass migrations, fear or terror. Indeed, their blue “Press” helmets and a little bit of kevlar seem to render them immune to the deadly drama that they are supposed to be experiencing. Jesse Plemons makes a brief appearance – that actually leads to the only vaguely exciting part of this chronology, but otherwise it’s all a bit on a non-event. Dunst starts off as a strong and characterful woman but that dwindles away and, well, I was just a bit bored as the denouement hoved into view with all the predicability of the sun coming up. It’s bitty, episodic, unrealistic and populated with characters in whom I simply could not believe. Sure, maybe it’s supposed to be outlandishly apocalyptic, but it reminded me for the most part of an episode of “Falling Skies” – only without the aliens. Perhaps it might resonate better with an American audience? I’m not one of them and this didn’t.
• Brent Marchant: Cautionary tales often have some of the most significant impact when brought to life on the big screen, and that’s certainly the case with the latest offering from writer-director Alex Garland. The filmmaker’s gripping tale of a quartet of journalists (Kirsten Dunst, Wagner Moura, Stephen McKinley Henderson, Cailee Spaeny) covering a civil war in a dystopian version of America of the near future follows the reporters as they make their way from New York to Washington via a circuitous route that shows them all sides of this nightmarish scenario. Essentially a road trip film, “Civil War” provides the principals and viewers with an array of images and situations graphically depicting what’s left of the US as a distraught population attempts to make sense of the circumstances and find ways to survive. The purpose of the protagonists’ journey is to secure an interview (likely the last one) with a corrupt, egomaniacal President (Nick Offerman) as rebel forces close in on the capital. They set out on this treacherous odyssey despite the dangers involved both in making the trip and in their roles as journalists, who are looked on with suspicion and have been accused of fanning the flames of the hostilities. While some have complained that the film doesn’t provide enough social and political background about the conflict, I submit that this consideration is fundamentally unnecessary: Garland is making an unadulterated statement here that, when the bullets start flying, ideology won’t matter and no one will care, a point driven home with chilling clarity over and over. The madness that consumes the population is all that’s important at that juncture, one driven by bald-faced hostility on steroids both among the combatants and the overzealousness of the reporters in seeking to “get the story,” no matter what. In achieving this end, the filmmaker holds nothing back, making this an often-difficult watch, one definitely not for the squeamish or faint of heart. But the picture’s message is one of grave importance, especially in today’s trying, polarized climate. We’d be wise to pay attention to what’s being said in this important work, handily the best – and most troubling – release of 2024 thus far.
• edrddz: The film, although set in a context of armed conflict, deviates from the traditional war theme to focus on war photojournalists, promoting a perspective on the work of such professionals. Through a series of small scenes, the director seeks to compose a portrait of these professionals’ actions on the battlefield without declaring the reasons for the war or identifying the sides involved.
• Each scene, individually, is well-executed, standing out for the quality of cinematography and an immersive sound work that amplifies the tension. However, these scenes, although effective individually, fail to come together cohesively. The result is a film that seems less than the sum of its parts. The main problem with the film is a lack of depth.
• Although technically well-produced, particularly in terms of audio, the film falls short of a deeper approach, which could have elevated it from a mere display of impactful scenes to a truly impactful work.
• MovieGuys: In spite of its pretensions, Civil War is essentially a derivative affair filled with calculatedly disturbing visuals and violent exposition.
• Character development and a functioning back story are largely absent, from Civil War. This is an exposition driven road trip from hell, with a nihilistic objective, that plays out to a predictable conclusion.
• That does not really leave a lot, for the viewer, to take away from this film. A film which should have a lot to say but is, instead, conspicuously silent. Perhaps this is a reaction to the climate of division and fear that exists in the USA today? That said, why make a film about something contentious, if you have nothing contentious to say?
• In summary, this film really needed to be more opinionated, even if that means offering up opposing perspectives. Instead, it offends no one (as is the norm these days) by saying little to nothing, of any real consequence.

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