A fine piece of work, and a story that will no doubt be compared to the director's own personal plight.

Rating: 8/10 (23 February 2017)

Whatever your opinion is of Mel Gibson, the once-Hollywood A-lister turned exile following that infamous drunken rant at the police back in 2006, it's unlikely that any other living director could have told the tender and bloody story of World War II hero and Medal of Honor recipient Desmond Doss with quite the same mixture of visceral horror and religious bent. There have been a myriad of movies recounting the acts of heroism and barbarism that occurred during the conflict, but most fail to stand out or tell their tale in a way that is unique. Gibson has defied his (understandable) haters and crafted a fine piece of work, and a story that will no doubt be compared to the actor/director's own personal plight.
Essentially a movie of two parts, both in terms of tone and quality, screenwriters Robert Schenkkan (HBO's The Pacific) and Andrew Knight (The Water Diviner) take the conventional biopic route by going way back to Doss's childhood living with his mother (Rachel Griffiths) and abusive, alcoholic father (Hugo Weaving) in Virginia. He is raised a Seventh-day Adventist and works in the local church, and as he eventually grows into Andrew Garfield, starts to romance the pretty girl who will later become his wife, Dorothy (Teresa Palmer). These early scenes have a corny gloss to them, like watching a big- budget Lifetime movie with a slightly better script. While the incredibly cute romance between the couple is beautifully played by the two main leads, the movie doesn't really get going until Doss follows his brother in volunteering to fight against the Japanese.
Undeterred by his restrictive religious beliefs, which forbid him to even touch a gun, Doss hopes to do his part by working as a medic. He first must go through boot camp, where he quickly finds himself in hot water with his drill instructor Sgt. Howell (Vince Vaughn) and Captain Glover (Sam Worthington) when revealing himself to be a conscientious objector. Rejecting a ticket home by way of psychiatric discharge, Doss becomes an outcast in his unit and is bullied by his fellow recruits. A stint in army jail and a trial ensues before Doss is eventually allowed to rejoin his squad before they are shipped off to the Pacific. It is during the Battle of Okinawa, and more specifically the mission to secure Maeda Escarpment - nicknamed 'Hacksaw Ridge' - that Doss will prove his worth, while the unrelenting horror of war explodes around him.
Anyone familiar with Gibson's previous work will know what to expect: No punches are pulled in the truly horrific battle scene, which lasts for pretty much the entire second half. Doss rushes somewhat elegantly through exploding heads and young men holding their own guts, as a seemingly endless wave of Japanese screamers lunge at them with rifles and swords. To call this the most disturbing depiction of war would be untrue (Elem Klimov's Come and See will forever hold that title), but it's damn near close. Though the splatter is relentless, it also manages to wear you down psychologically, so you can almost feel the weight of every bullet- ridden body Doss manages to drag to safety. Garfield is terrific, managing to charm with a near-permanent goofy grin that makes it seem like Doss knows and is comfortable with exactly what life expects of him. Somewhat surprisingly, so is Vaughn, who injects what I expected would be a clichéd boot camp montage with some laugh-out-loud humour. Bravo then, and welcome back Mel (haven't we forgiven actors for much worse?).