Eastwood tells the story at a pace well under the Hollywood speed limit, tosses in details so beguiling they seem about to sprout into motion pictures of their own and bathes his subjects in shadows as lovely as those in any Rembrandt.
No End In Sight is the most important film of the year thus far and, more significantly, the most comprehensive, clear-eyed account of the Iraq debacle and the arrogance behind it that we have.
The movie gives us lovingly shot landscapes, portraits of extraordinary friendships, a great score, dialogue that only occasionally slips into history lessons, a number of memorably etched minor characters, a splendid performance by its youngest star and two mysteries.