It’s possible that I’ve become oversaturated with movies centered around modern warfare and conflict to the point where it takes something truly exceptional to pique my interest. Over the years, I’ve endured numerous attempts, both high-budget productions and smaller indie films, many of which were tedious experiences. While Land of Bad, the latest offering from The Avenue, falls somewhere in the middle regarding budget, it doesn’t rank among the worst offenders. However, it lacks that compelling edge that would elevate it to a must-watch status. It seems tailored strictly for its intended audience and doesn’t strive for broader recognition – and sometimes, that’s perfectly acceptable.

Directed by William Eubank and co-written with David Frigerio, the film initially hints at the potential for an enthralling journey into the heart of battle. While I didn’t expect the screenplay to delve deeply into modern warfare’s complexities, I hoped for an engaging opening to set the stage for some captivating developments within the narrative, especially with a talented ensemble cast led by Liam Hemsworth and Russell Crowe. Set partly against the backdrop of the Philippines (though the movie was shot in Queensland, Australia), the film (originally titled JTAC) initially offers a fresh perspective on the collaboration between ground forces and drone operators during combat. However, as the story progresses, it takes a different turn.

Captain Eddie “Reaper” Grimm (Russell Crowe, Unhinged), a seasoned US Air Force drone pilot, provides crucial air support to a US Army Delta Force team on a covert rescue mission in the war-torn Philippines. When a mishap occurs, Sergeant JJ “Playboy” Kinney (Liam Hemsworth, Isn’t It Romantic), a young Air Force officer attached to the drone team, unexpectedly finds himself thrust into a ground operation. As Kinney navigates the complications of remote warfare, he must rely on Reaper’s remote air support to ensure the success of the extraction mission.

The film’s commitment to authenticity in its portrayal of military operations shines through in its depiction of the intricate relationships between ground troops and drone operators. It effectively showcases the challenges and moral dilemmas faced by soldiers navigating a technologically advanced battlefield, a theme previously explored in 2016’s Eye in the Sky. This attention to detail engages viewers in the adrenaline-pumping highs and heart-wrenching lows experienced by the characters. From the surgical precision of drone strikes to the psychological toll of waging war from a remote control room, the film offers a timely examination of modern combat’s harsh realities. Frustratingly, its exploration of these themes is overshadowed by clunky subplots that halt communication between the two operational teams.

As Kinney, Liam Hemsworth captures the character’s journey from a novice participant to a capable leader under pressure with a surprisingly strong showing. Often overshadowed in the Hemsworth family dynamic, he shines here, even taking playful jabs at his older brother Luke, who appears as a gruff member of the Delta Force Team. Though he’s been a bit all over the map in roles as of late, Oscar-winner Crowe commands the screen, showcasing a seasoned veteran’s emotional depth and authoritative presence. Attempts by Eubank and Frigerio to infuse his character with non-military eccentricities feel forced, as Crowe truly shines when embodying a military persona. Despite some uneven character development in the script that can lower the emotional stakes, the film has a bright spot amid bleakness; Chika Ikogwe shines in her role as Staff Sergeant Nia Branson, adding a humane level-headedness that balances Crowe’s more broadly drawn moments.

I’ve liked Eubank’s previous work in Underwater and Paranormal Activity: Next of Kin (a noble attempt to try something new in the notoriously rinse-and-repeat franchise), and his 2014 film The Signal was a creepy winner. His history as a cinematographer for movies and music videos has given him an advanced visual language that translates easily to this type of heightened entertainment. That’s likely why the action sequences in Land of Bad are staged so well and are the most exciting moments the picture offers. Visually stunning sequences aside, Eubank piles on the testosterone in the back half, resulting in a film that needs editing and more cohesion.

Offering a fiery exploration of modern war with mixed results, Land of Bad blends several absorbing performances with themes that could be more provocative than they are presented as being. While the film’s dedication to common sense, the challenges faced by soldiers on the front lines, and a strong ensemble cast elevate the viewing experience, it falls short of fully capitalizing on its premise, not to mention the struggles with pacing issues and uneven character development. Nevertheless, at various moments along the way, Land of Bad launches a gripping assault into the heart of darkness for audiences interested in the intersection of technology and combat.