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Modern War Film

American Sniper delivers stirring tribute to Texas hero Chris Kyle

Alex Bentley
Dec 22, 2014 | 12:11 pm
American Sniper delivers stirring tribute to Texas hero Chris Kyle
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Last we heard from director Clint Eastwood, he was fumbling his way through the adaptation of the jukebox musical Jersey Boys. So naturally he would quickly follow that up with American Sniper, a modern warfare movie tackling the story of Chris Kyle, who was considered the deadliest sniper in U.S. history.

Kyle (Bradley Cooper) was a Texas native whose dreams of being a cowboy took a back seat when he saw attacks on the U.S. around the world, including on 9/11. Recruited to be a Navy SEAL, he ended up serving four tours of duty in Iraq, coming to be known far and wide on both sides of the war for his proficiency with a long-range rifle.

Using a Texas drawl and a clinched jaw, Bradley Cooper makes Kyle into a man’s man who also understands his limitations.

Eastwood and screenwriter Jason Hall worked from Kyle’s own book; they had only just begun when Kyle was shot and killed at a North Texas gun range in February 2013. They attempt to give a full sense of the man, devoting significant portions to Kyle’s home life — or perhaps lack thereof — with his wife, Taya (Sienna Miller). They show Kyle to be a man who’s torn between his sense of duty to his country and his obligation to his family at home.

Eastwood, who did a great job with the World War II double feature Flags of Our Fathers and Letters from Iwo Jima, takes on a different animal with this film. Even now, what the military had to face during the war with Iraq started under President George W. Bush is difficult to understand completely, so working up enmity toward the opposition in a film is equally challenging.

That doesn’t stop Eastwood from trying, as he makes much of an enemy sniper who was just as fearsome as Kyle. That foe, multiple moral quandaries and other decisions most of us would never want to face are what Kyle had to deal with during his time in Iraq, and for the most part Eastwood and Hall do a solid job in making them as dramatic as possible.

Still, the film could have used a bit more subtlety. The combat scenes often hark back to old-style war films where the killing of the enemy, rather than strategy, is the only thing that mattered. And Kyle’s time at home in between tours feels rushed, so the audience never fully comes to grips with what he is feeling.

Cooper plays Kyle with a sensitivity that belies his bulked-up appearance. Using a Texas drawl and a clinched jaw, he makes Kyle into a man’s man who also understands his limitations. Miller is a chameleon who also hid in plain sight in Foxcatcher. She is a great complement to Cooper, turning a possibly one-note role into something much richer.

Unlike films like The Hurt Locker or Zero Dark Thirty, there are few big lessons to learn from American Sniper. But as a tribute to a soldier whom many others credit with saving their lives, it more than fits the bill.

Bradley Cooper plays Chris Kyle in American Sniper.

Bradley Cooper in American Sniper
Photo courtesy of Warner Bros. Pictures
Bradley Cooper plays Chris Kyle in American Sniper.
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Movie Review

Spanish film La Bola Negra showcases unique slice of gay history

Alex Bentley
Oct 30, 2026 | 10:15 am
Miguel Bernardeau and Guitarricadelafuente in La Bola Negra
Photo by Carla Oset/Netflix
Miguel Bernardeau and Guitarricadelafuente in La Bola Negra.

For a long time — too long — gay characters in movies tended to appear as either side characters with no real stories or as tragic figures who were usually unable to express their true selves for fear of what the world at large would think. That has changed in recent years, but the remnants of the past can still haunt, as the new film La Bola Negra demonstrates.

The film takes shape in storylines involving three different men: Carlos (Milo Quifes), a young man in Granada, Spain in 1932 who wants to join an exclusive casino (aka social club); Sebastián (Guitarricadelafuente), who unwillingly joins the military during the Spanish Civil War in 1937, only to have desires aroused in him when he’s asked to guard an enemy detainee; and Alberto (Carlos González), an out gay man in 2017 whose inheritance from his recently-deceased grandfather opens up a world he knew nothing about.

The film goes back and forth between each man, detailing how they handle their individual situations and the complications that arise in their individual lives. Along the way their stories are deepened through people they meet who either welcome them with open arms or shun them for various reasons. While tragedy bonds their stories, so too does hope, resistance, and love.

Co-director/co-writers Javier Calvo and Javier Ambrossi, along with co-writer Alberto Conejero, have expanded Conejero’s play, La Piedra Oscura, which was inspired by Federico Garcia Lorca’s unfinished play, La Bola Negra. Lorca, who was killed during the Spanish Civil War, had only finished four pages of the work, his first to feature an openly gay protagonist. It’s clear there’s a desire by the filmmakers to honor the legacy of Lorca as both a playwright and a gay man, and the seriousness of their pursuit is evident throughout the film’s 160 minutes.

Calvo and Ambrossi do little handholding to guide viewers through the three distinct stories, an approach that mostly works but occasionally leads to confusion, especially as more characters are added to the equation. None of the stories are overly complicated, but they take their time with each, making the long film feel even longer. Only Alberto’s story contains any kind of development that might be considered surprising, making it tough to fully engage with the other two.

Where the film does come alive is when it brings in two well-known actors for brief-but-fascinating stints. Penélope Cruz plays Nené Romero, a singer who entertains the troops and further expands Sebastián’s mind. Glenn Close pops up as Isabelle Durand, a scholar of Lorca who helps Alberto with a unique discovery he makes in his inheritance. Both actors bring up the level of the film significantly through their performances.

Quifes, Guitarricadelafuente (the stage name of Spanish singer Álvaro Lafuente Calvo, no relation to Javier), and González all put in good work in their roles, even if none are overly engaging. They are often overshadowed by supporting actors like Cruz and Close, as well as Miguel Bernardeau as Rafael Rodríguez Rapún, the captured soldier; Julio Torres as Alberto’s partner, and Alberto Cortés as Lorca, who brings a symmetry to the film as a whole.

La Bola Negra — which means “the black ball,” represented both literally and figuratively in the film — is an ambitious film that becomes a slight victim of its filmmakers’ aspirations. Although each of the three stories contain interesting elements, a strong emotional connection is lacking overall despite good-to-great performances.

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La Bola Negra is now playing in select theaters; it debuts on Netflix on December 2.

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