'Stop-Loss' (15) Starring Ryan Phillippe & Joseph Gordon-Levitt

Of the many titles one sees before a movie starts, 'An MTV Films Production' may conjure up certain images - fast, music video-style shots with young, hip actors. Or Johnny Knoxville doing unspeakable things to cattle.

It’s true that the Paramount offshoot has done very well by lowbrow entertainment (the Jackass movies, Blades of Glory, Crossroads), and on the rarest of occasions unearthes a real gem (Napoleon Dynamite, Election). However, with Stop-Loss, they head into much more serious territory - the Iraq War.

After completing a full term in Iraq, best friends Brandon (Ryan Phillippe) and Steve (Channing Tatum) return to their hometown as heroes. Looking forward to civilian life, his world is suddenly turned upside down when he finds out he has become 'Stop-Loss' - a clause in his military contract which can extend his service beyond his discharge. Facing another trip to Iraq, Brandon’s whole world is thrown into question-his relationship with his family, his friends, and his very understanding of honour.

The plot’s question is an interesting one, but the execution takes great care not to appear too critical. This is more a study of the effects of war than the rights or wrongs of it, although unspoken criticism may bubble underneath the surface. It’s this reluctance to say anything too detrimental that lets the film down - relying on generally agreed notions on warfare rather than sticking it’s neck out. Boys Don’t Cry director Peirce seemed to be quite influenced by ‘modern’ war films such as Three Kings and Jarhead, but unfortunately sits in the middle - not as affecting as Jarhead, not as fun as Three Kings.

The casting is bland, but commendable considering this is a young cast taking on something different. Tatum, clearly elated to be in something of substance, gives a spirited performance as Phillippe’s best friend, and presents the devotion of the soldier in a way that isn’t patronising. Similarly, Brit actress Abbie Cornish makes the most of a movie that is tailor-made for weeping army wife performances. Unfortunately, neither steals the film, and Phillippe’s reliance on brooding as a serious acting tool let’s down what could’ve been a breakthrough performance. After 10 years of being ‘the next big thing’, it appears he still struggles to carry a film.

Ultimately, Stop-Loss pulls its punches at critical moments, and so is nowhere near a Michael Moore level of Iraq opposition. It offers up the hardly revelatory facts that (a) war claims a lot of lives, and (b) those that come back from war are usually reluctant to go back. At nearly two hours it’s a smidge too long, but still and all it’s an admirable, if not entirely revelatory, study of the effects of modern warfare.