Compertently made, but overly simplistic of a complicated and emotive set up

Rating: 7/10 (3 February 2015)

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As we open on Chris Kyle (Bradley Cooper) on the battleground in Iraq, we see him faced with the most unenviable of dilemmas: his target sight's set on a young child, who's been handed an explosive device, which is to be thrown at his comrades. Will he pull the trigger? Before we can find out, we are thrown in to reverse gear, as we learn of Kyle before he signed up and became the solider with reportedly the highest number of confirmed kills ever, through to the severe PTSD he developed after several tours of duty.
While enjoying a film career with a fine and varied back catalogue, Mr. Clint Eastwood has never been one to steer too far in to the murky waters of controversy, which has sadly befallen him with American Sniper, one of many inevitable biopics revolving around the Iraq war, and the tense political climate that followed. Certain segments of the media and society have accused it of war glorification and a celebration of American imperialism. The politics are pretty much set in stone beforehand either way, but this is undoubtedly an overly simplistic and under developed film that, for it's basic competence and technical flair, fails to really get under the meat and bones of itself.
It plays, as it does, as an examination of one subject, a deeply flawed and morally questionable man, who despite showing bravery and dedication in going to Iraq and protecting his comrades, evidence has shown he thought of the Iraqis in a less than commendable way, even if many were shooting at him and trying to kill him. The film seems to generate controversy from any number of angles, and Eastwood has applied a deft approach to this real life killing machine, right up to the end showdown with the Olympian Iraqi sniper, resulting in a fastest finger first dual ('you feelin' lucky? Well, do ya, punk?')
For quite a huge downside, there's a fairly high upside, too. Cooper was enthusiastic for the lead role, and he fits it quite well, managing Kyle's gravelly Texas accent and mannerisms, and gliding through all the dramatic elements of the film. Eastwood thoroughly pores over all of Kyle's post war life, and his lack of stability as a civilian, in public and in private. It's the sort of thing he's known for, and despite some hiccups, he still does it well. ***