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The Unit (2006–2009)
9/10
Nothing else like it on TV.
30 May 2006
Warning: Spoilers
For starters, The Unit is the only drama I know of about US soldiers. (HBO's Band of Brothers is long gone.) In fact, it's the only broadcast military drama I know of since China Beach ended in 1988. Given that 13% of Americans over 18 are veterans, it's about time.

And The Unit portrays one of the most elite groups in the Armed Forces, a Delta Force team. For viewers who know little about the military and less about Special Ops, it's an education. Surely it is sometimes inaccurate; surely missions are condensed. But The Unit educates the general public as much as Numb3rs does about the FBI and Law & Order does about homicide detectives. Try a reality detective show like A&E's The First 48, and you'll see how little Law & Order reflects the real thing. But some education is welcome.

The Unit is also the only show I know in which the workers' spouses are essential. We see how the team members' wives cope with their husbands' absences, their own worry, and the financial difficulties of family life on military pay.

Now, the writing. The Unit has some of the tightest, most intelligent scripts on television. David Mamet and other screenwriters do not spell out everything that a slower viewer might not catch. Early in one episode, Bob is shown picking Mack's pocket. Later, Bob acquires a piece of equipment from an Iranian in an unexplained manner. We are left to surmise that Bob had been practicing on Mack.

In another episode, a coworker spots Kim's gun in her knapsack. He's opposed to guns, he tells her. Later, he has to use it to rescue her from an attempted rape. Any other show would then have Kim say something like, "I bet you feel different about guns now." The Unit trusts viewers to imagine what he thinks.

Maybe I'm slow, but I don't know how the episodes could be tighter. During most dramas, I don't have to look at a clock to know when a commercial approaches. Sometimes just a shot held too long ("We're driving home the point here!") signals it. The Unit is simply not predictable, whether in the last moments before a commercial or in plot twists.

There's also humor. Numb3rs, Law & Order, and Without a Trace are often downright lugubrious. The Unit's banter in the field and on the base is often funny, even witty. You don't get that in many dramas.

Some reviewers have commented on Col. Tom Ryan's affair with Mack's wife, Tiffy. Mamet is surely echoing the Biblical episode in which King David spies lovely Bathsheba bathing on a rooftop, has his commander put her husband in the front line of battle, where he is killed, and then marries her. (The Bible later says, "David loved God, and God loved David, except for the matter with Bathsheba." Or words to that effect.) If you know it, the Bible story only heightens The Unit's tension.

Finally, Mamet has written that The Unit is partly about duty, dedication, and community. Tom and Tiffy's bad behavior only throws the dedication of most of the others into relief. I don't know any other serious artist, in any medium, who is trying to portray duty, dedication, and community. Duty and community have long been lost values among our artistic elite.

My hat's off to David Mamet and Shawn Ryan. I hope The Unit runs as long as M*A*S*H.
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9/10
Most effective use of silence.
2 January 2006
I won't repeat what others have said. My short take: It's one of the best action films and one of the best ensemble films ever made.

What I noticed on first viewing was how quiet it is. Many scenes take place without dialog or score, merely background noises like wind, feet crunching gravel, and the like. Some of the tensest scenes are made more so by our hearing only what the characters would hear. For example, early on in the film, the lead characters undergo a storm at sea and approach a dangerous narrows, and until the scene's climax, all we hear are howling wind, driving rain, and slamming waves.

A musical score tells viewers how they are supposed to feel and often telegraphs shifts in plot or mood. As used in this film, the absence of music heightens the drama and makes the action more immediate. What score there is is thus more effective, earning its composer an Academy Award.
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10/10
Unique, enthralling, and beautifully realized.
13 December 2005
There is much I could say in praise of this movie, but I won't repeat what others have already said.

One of its best features, for viewers of all ages, is that it doesn't condescend to children. Charming as it was, SHREK -- from the same director -- did not expect children to handle much beyond a few familiar fairy-tale staples. THE LION, THE WITCH AND THE WARDROBE immerses them in a world wholly different from anything an American child knows: WWII England; the clothes, settings, and language of the place and time; Turkish delight, centaurs, even the "wardrobe" (which today would be called an armoire) and its mothballs. Many filmmakers wouldn't have touched this tale unless they could transpose it into contemporary America and either change or explain its alien elements. They wouldn't trust children to "get it."

But, to children, all the world is new. They are ready, nay, delighted to enter into a wondrous, magical world and take it on its own terms. What they don't understand doesn't matter. What matters is wonder. The creators of this film trust their audience. The result is more thrilling than any dumb-downed, words-of-one-syllable version would have been.

And the film is beautifully imagined. Most of us probably don't appreciate what it takes to adapt such a richly envisioned world to film: what to cut out and how to fill in what the author didn't describe. This movie succeeds remarkably. Its Narnia is true to C.S. Lewis and should be equally enthralling to viewers who have never heard of either.

If the idea of cheetahs, minotaurs, children in medieval armor, and other unlikely creatures rushing together into high-stakes battle intrigues you -- if you've never grown too old for wonder -- this movie is for you.
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