The Messenger

For these two soldiers, “there is no such thing as a happy customer.”

Self-described “angels of death” U.S. Army Sergeant Will Montgomery (Ben Foster) and Captain Tony Stone (Woody Harrelson) inform families of the deaths of relatives who were serving in Iraq. Delivering devastation each day would be bearable if either had a stable home life, but neither boasts such a comfort. Fortysomething Tony is a three-time divorcee and recovering alcoholic; 20-something Will clings with casual desperation to former girlfriend (Jena Malone). His sexual frustration only deepens when he becomes attached to a widowed mother (Samantha Morton) after breaking the news of her husband’s death.

The contradictory nature of Will and Tony’s existence—soldiers in suburbia—leave the two caught in limbo. Death news arrives via beeper tone, heralding a psychological weight that is expressed (maybe too heavy-handedly) through crescendoing sound effects. Similarly, the camerawork dips into a style one would expect—handheld equals gritty and real—but, especially with the first family the death duo visits, nonetheless remains effective.

Foster, now well-honed from previous roles as a psychopath, does enough with his role to satisfy, but not enthrall. Harrelson shows surprising range, breaking clear from his usual smug shtick to reveal the dangers of unrealized bloodlust. The real star of the film, though, is Samantha Morton, whose eyes can convey limitless emotion. One scene in particular between Morton and Foster is both erotically teasing and heartbreaking, providing the film’s most powerful moment.

Despite these strengths, The Messenger feels stranded and hollow at times. Though narratively on cue, its underdeveloped core leaves further insight to be desired.