Green Zone is set in Iraq in 2003, a month after Bagdad was overrun by coalition forces. Having successfully helped invade and *liberate* Iraq, idealistic soldier Chief Miller (Matt Damon) leads US troops on a search for WMDs, but becomes disillusioned when none materialise. He digs deeper and aligns himself CIA Middle East specialist Martin Brown (Brendan Gleeson), and together they uncover a conspiracy that goes deeper than either of them imagined. There is far more to Green Zone that this, but that’s the general gist.

Director Paul Greengrass, whether he meant to or not, has relayed a message that most people can actually relate to in their day-to-day job from this film: when something is important, don’t listen to the public – they’re morons. When deciding what to do with Iraq, Brown suggests involving the Iraqi army to help keep order and avoid a bloodbath (which is what is happening now anyway), only to be overruled by a snivelling politician (Greg Kinnear) because the American public won’t stand for it. The rest is history.

The combat scenes are really intense, perhaps partly because many of the supporting cast were actual Iraq veterans. In any one scene, if you take time to absorb the details of the scene, you will see all sorts of pandemonium – soldiers bleeding out, children crying and buildings falling apart are all part of the background.

Outside of the combat, Green Zone unfolds at a rapid pace, keeping you hooked throughout. It certainly is a Paul Greengrass film, and although he should be given credit for the above, it has his trademark jolty camera shots which makes everything a struggle to see. He must employ the same shaky camera man.

Matt Damon plays Miller as well as he can, which isn’t saying much. He still looks confused all the time. Every time he utters a line it’s as if he’s looking over the camera to Greengrass to say “Was that okay?” Luckily the film poses so many questions as it progresses that Damon looking confused starts to make sense.

Green Zone is up there with Jarhead and Black Hawk down for chilling realism. Maybe a different leading man and a steady camera would have been handy though.

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