Identifying the main characters, Kosinski keeps one’s attention on their lives in and out of uniform, keeping the pace up yet drawing us into the simple yet crucial daily struggles of their lives as civilians.įire is a recurring symbol, operating across the spectrum from baptism to phoenix, and becomes the devastating enemy in wait as Only the Brave starts to function like a war drama about a SEAL team banding together.
“Son, ‘getting fired’ is just part of the job.”īrotherhood, camaraderie, spirit and selfless valour underline this gut-wrenching drama, echoing the cast chemistry and ensemble effort of Everybody Wants Some!.
The two have good rapport with an almost unrecognisable Teller delivering yet another fine performance as a recovering addict, essentially becoming the whipping boy. His role opposite Teller as “Doughnut” becomes something of a mentor-apprentice relationship. Brolin is granite personified, delivering a cool-headed, stoic and thoughtful performance as team leader, Eric. Kosinski’s job is made that much easier by a stellar cast led by Josh Brolin and Miles Teller with solid supporting performances from Taylor Kitsch, Jennifer Connelly and Jeff Bridges. It’s more balanced, giving the actors a better platform and allowing the characters the necessary time to grow.
The difference is that Only the Brave downplays scenes in favour of the emotional drama and storytelling over the thrill of the audio-visual experience. Both films focus on disaster management, ordinary servicemen and spectacular visuals, often involving fire and peril, in the presence of several veteran stars. Only the Brave has strong parallels with Deepwater Horizon, which serves as a good indicator as to whether you’ll enjoy it or not. Yet, Kosinski has taken a quieter, introspective and subtle approach. The film’s American bravado and tale of star-spangled heroism in the eleventh hour could have easily been transformed into a loud Peter Berg or Michael Bay film, starring Mark Wahlberg.
Directed by Joseph Kosinski, the man entrusted with Top Gun: Maverick, who brought us Tron: Legacy and Oblivion, most would have expected a heavy focus on style, more specifically visual effects and atmosphere, over substance.
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