Film: Ballistic Review

The first time I saw Lena Headey in a film, it was the queer British romantic comedy Imagine Me & You. From there, I continued to enjoy her string of strong female roles (which were empowering yet complicated). Due to the variety of film roles, she is one of the actors that I perk up when I see her name in the credits. (Yes, we all know I have a long list of actors like this.) When I was presented with the opportunity to watch and review the new film by writer-director-actor Chad Faust, Ballistic, I knew I would be in for a ride, and I was not disappointed.

Ballistic is an emotional drama about a mother (Headey) who not only discovers that her only newly married and soon-to-be-father son (Jordan Kronis) was KIA overseas, but that there might be a connection between her job at an ammunition factory and the bullet that ended his life. This film does not shy away from the complexity of war or the turmoil and upheaval that penetrates every aspect of those left to survive at home after a loved one succumbs to the ultimate sacrifice of war.

I wasn’t fully aware of what Ballistic was about before venturing into this cinematic world. I saw Headey’s name and knew I would experience a film with a strong female. While this film does have strong females, it’s so much more than a Mama Bear protecting her young. It’s about the raw emotions that being a mother can awaken in you and the ramifications of that in a repressive society. 

I was also completely blind to the heavy military tones of this film. Don’t get me wrong, I was not put off by that, nor would I consider this a military film. It has elements of the institution, but in no way would I call it a war film. I’m grateful for that, because this is one of the rare films that focuses on the families at home and how they compartmentalize their world alongside the military. It also showed the reality behind those who serve in our military. It’s not all about the pomp and circumstance of the ornate history, but the hope of a future it provides to those who might not have one otherwise. Soldiers and the military weren’t used as props in this film; it was an element of life. 

This might not seem like it’s important to most, but when you have been a part of this life, the portrayal of the gritty reality of this lifestyle is appreciated. You feel seen. I also understand how political and heated military-subject matter films can be. There are elements of that in Ballistic, but what I appreciated most about this film is that it wasn’t shoved down your throat. There are real elements tied to it, but it’s not a political film. For me, you can take out the military and slide in another, a car accident, and the woman who works on the assembly line, and the emotional through line stays the same. It’s not the mode of the death, but the mother’s connection to it and the corrupt nature of those involved that is at the heart of this film. Unfortunately, in our society now, there are more than a few examples of those cases in the ether.

Above it all, Ballistic is a film about grief. It’s about how we handle grief, how varied it can be for everyone, and how it has to be addressed before you can move forward. Grief can lead to pain, which turns to hate, but it also eventually ends up back at life. One of the most powerful scenes I have seen in a long time takes place in this movie. Not only does it represent a reality far too many people have experienced, but it is also a testament to the pure talent Headey possesses as an actress.

In the aftermath of the realization of her son’s passing, Headey’s Nance seeks solace in the tub, fully clothed and absent from water. Her emotional outburst is agony from the depths of her soul. It’s a crude release, one you feel in your bones as you witness Nance’s entire life ripped apart. From that moment on, you understand what she’s going through, why she’s doing the things she’s doing (whether you agree with them or not), and the film leads you down an unexpected path of solidarity.

Ballistic doesn’t just showcase the pain of a mother; it also touches on the pain of others involved in a situation like this. You are an uncomfortable bystander as Jesse’s pregnant wife, Diana (Amybeth McNulty), struggles with her present and future. You are a conflicted gawker of the realities of working for a side that is deemed wrong by one group and a savior by others through the conversations with grief counselor and former translator Kahlil (Hamza Haq). Mourning takes different forms, and the reason Ballistic, for me, is so powerful is that you get to feel it through these three different versions all circling the same center, the center of war. Three sides of this pyramid create an emotionally driven and powerful film. While the situations may add context, the actors add depth. Both Haq and McNulty dig deep to embody the struggles of these characters and bring them to life. They were unafraid to dive into that vulnerability, and alongside Headey, the film is better for it.

This is not an easy film to watch, but it is worth watching. The subject matter is prickly, but necessary. The emotional turmoil is heavy but powerful. In a world where sequels and established IP are everywhere (which I also love, by the way), it’s nice to encounter a fresh and gritty film.

Ballistic is available in select theaters and On Demand on Friday, April 17th.

Written by Lisa M Mejia
Images provided by Brainstorm Media