STOP-LOSS centers on returning military hero, sergeant Brandon King aka BK (Ryan Phillippe).  After completing his tour of duty in Iraq, he is drafted back against his wishes.  The STOP-LOSS of the title refers to the involuntary extension of a service member’s enlistment contract in the U.S. military in order to retain them beyond the normal end term of service (ETS) or the ceasing of a permanent change of station (PCS) move for a member still in military service.  BK and childhood friend, Michelle (Abbie Cornish) drive to Washington with hopes of taking his case to a senator.

Peirce’s film is a mess and full of plot holes.  As for the plot, BK is revealed later as the leader that led his men into an ambush rather being the hero everyone thought he was. The only (and insufficient) reason I would imagine is to show BK’s satisfaction in fighting the war.  The film is at times road movie, military buddy flick, message drama, romance but never decides to stay on any.  Though it takes sides against military policy, both she and actor Phillippe claim during interviews that the film is not an anti-war movie.  That latter claim is true - as observed from the scenes of war decoration ceremonies at the film’s start.  But her film says nothing of the facts that the U.S. Federal courts have consistently found that military service members contractually agree that their term of service may be involuntarily extended.  In other words, the soldiers should read their contract before signing their life away.  Peirce’s film feels unfocused.  What is the point of telling a story about STOP-LOSS if she offers no solution or even some remote path of action?  Demonstrating the soldiers’ problems and anger is not enough.  At one crucial point in the film, BK meets a similarly stop-lossed fellow soldier on the run at a motel who has given up his identity.  The film now tethers as a zombie horror movie with a hero on the run.

The initial shots of Iraq with the dusty roads and broken brick building are stunning.  Photographed by veteran cinematographer Chris Menges, it is not difficult to see why.  What I cannot understand is Peirce opting so much for hand held jerky camera during a major part of her film – thus wasting Menges’ talents.

Peirce directed the highly acclaimed BOYS DON’T CRY that won Hillary Swank her first Oscar.  She did well with the simpler themed film concentrating on the story of one protagonist.  Here in STOP-LOSS, her protagonist’s actions encompass three other solders with real problems of their own.  These actually overshadow and are more interesting than BK’s.  Peirce elicits fine performances from her players, particularly Phillippe.  Her individual set-pieces are well staged and riveting.  It is just that the combined whole does not come well together in an otherwise stylized film.  Her tacked on dreamy ending makes no sense at all – except looking good for no particular purpose.  And the same can be said for very much the whole movie.