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user\nNavy Seals is an ignorant, racist and complacent movie which thoughtlessly uses the Middle East conflict as the backdrop for an action flick concocted for a comfortably sheltered American Mid-West audience. The conflict, as well as those involved, is used simply as cannon fodder to glorify the photogenic young Americans who proudly kill Arabs for the good of 'freedom'. But what is worse is that the film's action scenes are sloppily handled and unexciting, which prevents Navy Seals from working even as a mindless shoot-'em-up.
Charlie Sheen's character (Hawkins) is disgusting, obnoxious, ignorant, reckless and, above all, racist. He refers to the Middle East as a 's**t-hole' and to its inhabitants as 'rag-heads'. Throughout the film, the Navy Seals' characters are glorified through the use of the Lebanese natives as cannon fodder. They indiscriminately massacre these people with a consequence-free attitude. There is even the tasteless murder of a young Lebanese boy who is shot by Hawkins; Hawkins makes fun of his language before shooting him whilst making another humorous quip. Besides being tasteless, this should be unacceptable. The film's extreme (though predictable)pro-American stance is also revolting. This can be seen when the Lebanese-American female journalist informs Hawkins that terrorists cant be made to talk because 'they are religious zealots.' Hawkins then retorts with 'yeah, and we are the Navy Seals!' The implication is obviously that zealots are meaningless next to American military might. Moreover, even after insulting this journalist's racial heritage and treating her like a sex object, the script demands her inability to resist this disgusting thug and she still ends up sleeping with him - because he is an All-American Navy Seal. This marginalizes the journalist's character by making her submissive to the 'superior' pro-American attitude of Hawkins despite his insulting behaviour toward her. Beyond ethics, this plot twist also has little credence as drama.
The screenplay is also amateurish. Most scenes are simply strung together without any thought for mood, plot or character development. The 'music video' scene at the golf course, for example is just shoddily edited eye candy. And the two scenes where Charlie Sheen plays the reckless hero are also pointless. In one he jumps off a bridge from moving car just to show his mates how tough he is, and in the other he chases down a tow truck on a push bike and drives his car-off it. Neither scene has a follow-up anti-climax, both are highly improbable, and neither has any bearing on the plot as a whole. They are just candy designed as a vehicle to showcase Hawkins' cheap all-American heroics, and are poor substitutes for character development. Most of the other plot development scenes are also badly filmed and poorly scripted as - in fact this affliction affects the entire movie. Apart from the African American Navy Seal and his wife as well as the characters of Michael Biehn and Charlie Sheen, every other member of the team seems unknown to the audience, so that when the climatic scenes roll around there seems to nobody to root for and anybody's death to lament.
In such a film, the action sequences can potentially rescue the production. But here they don't. These are badly directed, badly lit, and showcase badly performed stunts. In fact, their direction is so poor that they are almost incoherent to the viewer, resulting in not only the scenes being incomprehensibly hard to follow, but also in a complete lack of fear and suspense. Poor lighting only adds to their impotence. The explosions look fake, gunshot wounds unconvincing and one of the more daring stunts, involving crashing a Mercedes over a tank, looks just like a stunt which has been staged on a backlot and then poorly edited.
The ending of Navy Seals places the coins firmly on the eyes of this production. First there is the obligatory slow-motion 'running-away-from-the-big-explosion-that-should-have-killed-me' scene with Sheen carrying Biehn on his back. This was obviously the default scene intended to be the star of the movie's trailers. Then there is the ending itself when the remaineder of the Seal team, wounded and floating in the ocean, are rescued by a submarine. This submarine had in fact turned for home long before, but of course it had miraculously returned in the nick of time. Topping it all of, despite the Seals' violent and stressful ordeal, and despite the fact that numerous of their colleagues had just been killed, with a number of them still bleeding acutely, they all manage to laugh heartily while blessing America vociferously. Predictable? You can just imagine this ending while watching the opening credits.
This movie indulgently uses the Middle Eastern conflict as a vehicle for the macho All-American tendencies of the movies' photogenic young leads. Arabs are treated condescendingly and dismissively, and their slaughter in the movie is used as a fulcrum to glorify the use of American military might against an 'inferior' minority group in a consequence-free environment. The events of 2001 have pointed out that such smug and overconfident trivialising of the conflicts of such minority groups is certainly not a consequence free passtime. The Middle East can no longer be written off as a s**t-hole full of rag heads knocking each other off (to quote Charlie Sheen here); it is now a place in which involvement can lead to severe consequences. Today we are reminded that the consequences of such arrogance can manifest themselves quite close to home. Therefore, in the very least Navy Seals looks pretty foolish these days; but this is to be kind. This is a highly ignorant movie, whose production values and professionalism are equally suspect. Navy Seals is, ideologically and artistically, a complete insult to the intelligence of its audience.
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