The D.C. sniper attacks (also the Beltway sniper attacks) were a series of coordinated shootings that occurred during three weeks in October 2002, in the states of. Watch Seven Samurai Download.

Directed by Clint Eastwood. With Bradley Cooper, Sienna Miller, Kyle Gallner, Cole Konis. Navy S.E.A.L. sniper Chris Kyle's pinpoint accuracy saves countless lives on.

Bradley Cooper as Chris Kyle in American Sniper. Photo illustration by Slate. Photo courtesy of Warner Bros.

Pictures. On Feb. Navy SEAL Chris Kyle was killed at a shooting range near Chalk Mountain, Texas, while attempting to help fellow veteran Eddie Ray Routh.

Directed by Luis Llosa. With Tom Berenger, Billy Zane, J.T. Walsh, Aden Young. A US Marine sniper is partnered with a SWAT member to take out rebel leaders in the. Need help identifying a movie that you just can't remember the name of? Here's the place to ask. As always, Google first, but if you have no luck searching on y.

He had gained notoriety during the Iraq war—with 1. Kyle remains the deadliest sniper in U. S. military history.

Almost two years later, actor- director Clint Eastwood has transformed the 2. American Sniper from a best- seller into a box- office hit. Controversy over Kyle’s credibility casts doubts on the film, however—claims that he engaged in a bar fight with former Minnesota governor and pro wrestler Jesse Ventura, sniped looters in New Orleans after Hurricane Katrina, and killed two carjackers all remain unsubstantiated. The first was the subject of a $1. Ventura brought and won against Kyle.) This, coupled with a New Yorker piece exploring Kyle’s tendency for embellishment, may make audiences ask: Does Eastwood’s American Sniper stick to the narrative as presented by Chris Kyle or to the known facts—or does it blend the two?

The answer is not an easy one. More than any other strategy, omission keeps the film true to life.

Questionable episodes (including those mentioned above) are excised. Eastwood de- emphasizes training and non- Iraq sequences to grant breathing room to a handful of military operations, building a film around Kyle’s tense decisions to pull the trigger or grant mercy.

What emerges is a morality tale—one that, unlike the memoir, reflects on what simmers beneath the surface. Below, I probe the film’s key moments for inaccuracies. Texas Cowboy. Bradley Cooper as Chris Kyle. Courtesy of Warner Bros. Pictures. American Sniper’s Chris Kyle (Bradley Cooper) is an all- American boy raised in rural Texas with strong Christian values and a passion for firearms. His father imparts strict lessons about the difference between sheep, sheepdogs, and wolves—and the importance of finishing a fight. And indeed, in his memoir, Kyle credits paternal influence for his black- and- white morality.

But skipping ahead, the film takes some liberties. Early on, the movie shows Kyle taking part in a rodeo before finding his girlfriend in bed with another man, whom he quickly dispatches. While Chris Kyle participated in “saddle bronco bustin’ ” from high school into college, his rodeo career ended when a bronco flipped and left him with pins in his wrists, broken ribs, and other injuries. Neither his brother nor an unfaithful girlfriend are mentioned in the book, but he did become a ranch hand to pay the bills after partying with rodeo groupies drained his income. During this time, he approached the recruitment office to enlist—not, as the movie suggests, because he witnessed American lives lost on the news, but because he had always intended to join the military following school.

When his rodeo injuries precluded enlistment, Kyle quit school to work on ranches full time. However, he soon got a call from Navy recruiters who reversed their earlier decision. In the movie, this waffling is glossed over to make his enlistment seem like a streamlined response to injustice—Kyle goes straight from busting broncos to SEAL training.

Family Matters. Sienna Miller As Taya. Courtesy of Warner Bros. Pictures. In memoir and movie, Chris Kyle and Taya (Sienna Miller) begin their relationship not long after his SEAL training, and Eastwood’s film is painstakingly accurate to their real- life meet- cute—drunken vomiting and dodged calls included. But the Kyles’ wedding was not interrupted, as in the film, by whispered revelations that America would go to war following 9/1. Instead, the couple decided to marry because Kyle would soon be deployed and had only a few days of leave amidst military training. His brother, too, deployed not longer after. Taya’s experiences during his tours were just as painful, if not more so, according to the book as in the movie.

Kyle once dropped his phone during a firefight and she was forced to hear the whole thing—but not when she was revealing the sex of her baby, as in the film.) Yes, husband and wife did fight many times over whether he should redeploy (and in italicized passages, the memoir allows Taya to vent her frustrations). And yet, while in the film Kyle decides after killing Mustafa that he is too depressed to continue fighting, according to his memoir he told Taya he wouldn’t re- enlist because their marriage was nearing divorce. At the end of the film, Taya speaks with Kyle the day he travels to the shooting range with Routh, letting him know how grateful she is that he’s returned. This is not in Kyle’s memoir, for obvious reasons, but screenwriter Jason Hall writes in an addendum to the new edition of the book that Taya told him she had this conversation with Kyle a month before his death. In the Field. Film and memoir begin with near- identical opening sequences: Kyle sees a woman and a few children on the otherwise- empty street of an Iraqi town through his sniper scope. In the movie, Kyle sees this woman remove a grenade from beneath her dress and hand it to her child. He shoots the child, and when the woman wails and picks up the grenade shoots her as well.

He visually shows guilt, blinking, sniffling, and refusing the congratulations of his fellow sailor.*However, according to the memoir, Kyle shot only a woman that day, not a child, and he felt no guilt about it: “It was my duty to shoot, and I don’t regret it.” It was his first kill with a sniper rifle, though he had not yet completed his sniper training. In his writing, Kyle calls the woman “evil” and reveals that many people, including himself, referred to Iraqis as “savages.”Another anecdote in the movie is completely invented. Kyle and his fellow sailors enter a civilian house and take up station there. Watch Whatever Works Online Metacritic on this page. Though the family inside is obviously startled, they welcome the men to have dinner with them. However, when Kyle inspects the house more carefully, he finds weapons hidden beneath the floorboards, and outs the family as pro- insurgency, beginning a firefight.* No such incident happens in the memoir. Fallen Friends. Jake Mc.

Dorman as Biggles. Courtesy of Warner Bros.

Pictures. Kyle’s friendships with his fellow sailors shifted with each deployment, but two names recur in both movie and text: Ryan Job and Marc Lee. Neither portrayal, as it turns out, is accurate on screen. In the movie, Ryan Job (or “Biggles,” played by Jake Mc. Dorman) is shot in the head and blinded by Syrian sniper Mustafa but survives long enough to propose to his girlfriend. He dies soon after, and that death defines Kyle’s fourth tour in Iraq and spurs him to seek revenge against Mustafa. In reality, according to Kyle’s memoir, the Navy discharged Biggles from service following his injury.

The ex- SEAL attended college, began a career, and got married before dying following facial reconstruction surgery while his wife was pregnant with their first child.*Moviegoers will remember Marc Lee (Luke Grimes) as the man who became disillusioned with combat and argued with Kyle shortly before his death in the field. Kyle believes this lack of faith in the war caused his death; Taya disagrees and they debate that point, focusing on a letter Lee wrote his mother, at the memorial service. Watch Eaters Download Full. Though most of the movie’s inaccuracies make Kyle seem more sympathetic, in this case his memoir displays more compassion. In the book, Kyle praises the letter and says he attended a memorial service at base and then paid graveside respects to Lee at the funeral of another SEAL.

Mustafa and “The Butcher”Sammy Sheik as Mustafa. Courtesy of Warner Bros. Pictures. In the movie, a character named Mustafa (Sammy Sheik) becomes Kyle’s foil and nemesis: a Syrian Olympian “hitting head shots from 5. American troops. Unlike Kyle, Mustafa is given no backstory, family, or surname and remains more or less anonymous—we see his face but only in combat.

James Cameron Criticizes Wonder Woman Movie. Update: Wonder Woman director Patty Jenkins has responded to James Cameron’s comments.–Legendary director James Cameron has made some eye raising statements about DC’s smash hit film Wonder Woman, suggesting the film is not the progressive, feminist triumph it’s been widely hailed as, but actually objectifies women. Cameron is a Hollywood heavyweight, having directed some of the biggest hits of all time, like Titanic and Avatar. He’s also no stranger to strong female leads: he helped to solidify the legendary status of Sigourney Weaver’s Ellen Ripley in the science fiction horror sequel Aliens, and the transformation of Linda Carter’s Sarah Connor from a meek damsel in distress in The Terminator to the battle hardened, world- weary hero of Terminator 2: Judgment Day is perhaps his greatest storytelling achievement. Yet Cameron was decidedly unimpressed by Diana of Themyscira.

In an interview with The Guardian promoting an upcoming 3. D rerelease of Terminator 2: Judgment Day, Cameron was highly dismissive of Wonder Woman’s feminist bona fides, suggesting the film objectified her and didn’t equal the nuance of a character like Sarah Connor.“All of the self- congratulatory back- patting Hollywood’s been doing over Wonder Woman has been so misguided. She’s an objectified icon, and it’s just male Hollywood doing the same old thing! I’m not saying I didn’t like the movie but, to me, it’s a step backwards. Sarah Connor was not a beauty icon. She was strong, she was troubled, she was a terrible mother, and she earned the respect of the audience through pure grit. And to me, [the benefit of characters like Sarah] is so obvious.

I mean, half the audience is female!”This is a pretty bizarre line of reasoning from Cameron. The director seems to be suggesting female characters are only worthwhile when they’re fundamentally damaged people, which is not exactly a positive feminist worldview. Also, the claims of Wonder Woman featuring a lot of female objectification seem to suggest Cameron was not paying especially close attention while watching the film. While Wonder Woman has absolutely been an object of sexist objectification over the years, Patty Jenkins’ film went out of its way to avoid such pitfalls, and was met with near universal acclaim for its nuanced, earnest portrayal of DC’s flagship heroine. The whole thing is decidedly tone deaf from a director who, in recent years, has become known as much for his temper and unusual opinions as he is for his films, with his long promised cadre of Avatar sequels spending years in development (though they might finally be coming soon). Cameron’s comments don’t really take anything away from Wonder Woman’s success, but they’re still a disappointment coming from a man who has shaped some of the most enduring female characters in film history. Source: The Guardian.