但Matthew Michael Carnahan.，谁的脚本信用包括“黑暗的水域，“”世界大战Z.，“和”21桥，“避免在伊拉克摩苏尔史金斯九六世的真实事件上与他的导演首次亮相如此白救世主。Pairing a refusal to extend any sympathy to the Islamic State with thoughtful, if somewhat underdeveloped, commentary about Iraq’s history and relationships with the United States, neighboring Iran, and onetime foe Kuwait, “Mosul” feels grounded in a tangible sense of place and time. Although the film sometimes relies on formulaic imagery to make plain the evils of the Islamic State (orphaned children, impregnated women), it makes up for that predictability with a gripping lead performance from Iraqi actorSuhail dabbach.。正如武士队长的主要杰西姆，那个是一个稳定的族长，这是一个在杀死伊斯兰国家战斗机之间交换的男人，敦促他的“儿子”和同志在他们的使命期间喝水，并与他们看到的年轻男孩交朋友一条土路。达比巴是“摩苏尔”的心灵和灵魂，使真正的令人难以置信的损失伊拉克人在几十年的战争和破坏之后遭受了苦难 - 希望他们仍然坚持更美好的生活。
“Mosul”坐落在伊拉克北部的同一个名字城市，曾经是一个繁荣的大都市，人口近200万。位于蒂格兰河上，摩苏尔靠近九六，近亚述城市，曾经是上部索奥莫亚州新亚述帝国的珠宝。后9月后。2001年11日，美国主导侵袭伊拉克破坏了该国，伊斯兰国家的存在和控制各种伊拉克城市加剧了。2014年，恐怖主义群体（某些中东人称之为Pejorative“Daesh”）开始匍匐到城市，当时“Mosul”从现在开始，他们的破坏性影响很清楚。建立无人机镜头明确普遍的破坏性折叠建筑，燃烧的汽车，被遗弃的社区 - 而谵妄解释说，迄今为止令人害怕的派对是九六世队的恐惧之一。由Mosul的警察组成，他使用他们的第一手知识来实现他们的优势，九六世队成员对他们的韧性臭名昭着。他们都没有切换侧面，并加入似曾拯救自己，而且他们都没有被俘虏。
在城市试图捍卫它，仍有善良的人，并且在三名伊拉克警察和迪亚什战斗机的潮汐之间拍摄时，“Mosul”开始。虽然伊斯兰国家似乎在摩苏尔出路时，他们的交易 - 枪支的贩卖药物，偷走的公民偷走，绑架和强奸妇女 - 仍然使他们犯罪分子，年轻的警察Kawa（Bessa），他的叔叔，另一名官员正在试图逮捕。他们被严重卖出，直到主要的Jasem和他的男人在悍马中出现，装饰着改进的骷髅和交叉骨牌标志，装满枪支和匕首和手榴弹，运动凯菲耶和身体盔甲。他们有一个严格的代码，检查人们对巨大名单的姓名，他们携带仔细检查个人是否与伊斯兰国家隶属于隶属于伊斯兰国家，他们挑选了尸体的袋子，他们将任何废弃的武器添加到自己的缓存中。他们的目标是杀死他们看到并回收他们所爱的城市的任何雏菊，并且在那种意识形态中没有房间怜悯。
当Kawa的叔叔在小冲突中丧生时，主要的Jasem为他提供了一个加入SWAT团队和确切自己的正义的机会。Kawa’s acceptance of that thrusts him into a mysterious mission the SWAT team is desperate to complete before the Islamic State leaves the city, and what follows in “Mosul” is a series of unimaginatively shot action sequences but nuanced explorations of the Iraqi people’s struggle to live every day in a country seemingly constantly under attack. Carnahan doesn’t do anything flashy here: There are no 12-minute single takes, as in “Extraction,” and although most of the fighting happens in buildings the team is clearing, there are no creative uses of stairwells, as in “The Raid.” “Mosul” is more interested in what happens after Daesh is defeated, and various scenes wonder about the future of this place and its people. Major Jasem’s tendency to pick up garbage, whether the SWAT team is in a decimated apartment building or in the secret hideout of an Iranian-backed militia group, and properly place it in a trash can is a clue into his desire to clean up the city where he’s lived his whole life. Kawa, only two months into the job, must reconcile the fact that many of his police colleagues saved themselves and switched sides rather than truly working to serve and protect. And various other SWAT team members speak of the relatives they’ve lost or the wounds they themselves have suffered, stories that serve as as emotional fuel for their understandable ruthlessness.
Some of Carnahan’s choices rely on certain Western stereotypes to underscore the awfulness of the Islamic State (when an intertitle refers to their campaign of rape, torture, and murder as being on a “Medieval scale,” as if the Crusades weren’t initiated by the Catholic Church; a man ripping a headscarf off a young girl in a scene coded as liberation), but what “Mosul” gets right more often is its prioritization of the Iraqi perspective, and the weight of all this violence. Major Jasem gets into a heated argument with a foreign agent about the history of the Iraq; the altercation is pure melodrama, but Carnahan understands the allure of nationalism. Kawa sees the more-seasoned men taking selfies with the bodies of dead Daesh fighters but can’t bring himself to mimic their poses; his actions toward the film’s conclusion, however, demonstrate his swift hardening. “We can rebuild everything. We just have to kill them all first,” Major Jasem says, and although “Mosul” underwhelms with its action sequences, Dabbach’s performance and the film’s commitment to that search-and-destroy ideology from the viewpoint of Iraqis themselves create some undeniably satisfying moments.