Best Movies about War injury

Movies about War injury

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Trauma surgeon and Navy veteran Dr. Peter Rhee rates nine battlefield medical scenes in movies and TV for realism.

Rhee breaks down the historical accuracy of treating gunshot wounds during World War II in «Band of Brothers» (2001) and «Saving Private Ryan» (1998), starring Tom Hanks. He looks at the realism of battlefield surgeries in «M*A*S*H» (1979), «Code Black» (2016), and «Master and Commander: The Far Side of the World» (2003), featuring Russell Crowe. He also discusses the reality of treating other battle and trauma injuries in «The Punisher» (2017); «Grey’s Anatomy» S6E18 (2010); «John Wick: Chapter 3 – Parabellum,» starring Keanu Reeves; and «Rambo III» (1988), starring Sylvester Stallone.

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Rhee is a trauma surgeon and United States Navy veteran, where he served for 24 years. His memoir, «Trauma Red,» is about his experience as a trauma surgeon.

Watch part one of the video here:

The Best and Worst War Movies About PTSD

If you’re looking for a well-made war movie focused on PTSD, here are some of our highest (and lowest) recommendations, including The Best Years of Our Lives and Hurt Locker.

Nejlepší roky našich životů (1946)

Nejlepší!

The first war movie to ever deal with «PTSD,» this film, which won the ​Academy Award for Best Picture, focused on a sailor, a soldier, and a Marine coming home from the war, each dealing with a different sort of problem. For many viewers, the film was informative, as its protagonists struggled with re-obtaining employment, dealing with war injuries, and managing relationships, all while dealing with the emotional scars of battle. This film was about fifty years ahead of its time, as PTSD wouldn’t be formally diagnosed or acknowledged for many decades to come.

Click here for a list of the Academy Award Winning War Films.

Twelve O’Clock High (1949)

Nejlepší!

Gregory Peck is assigned the task of whipping a demoralized bombardier unit back into shape after they suffer post-traumatic stress from losing so many airmen. One of the first films to deal with the idea of combat stress, and is considered by pilots to be a fairly realistic rendition of aerial combat (at least as far as 1940s special effects went).

Návrat domů (1978)

Nejlepší!

Jane Fond and Jon Voight star in what was the first Vietnam film to deal with veterans struggling to adapt after the war. The film’s focus is a romantic triangle between a paraplegic vet, a Marine officer, and the officer’s wife. Voight if phenomenal as the disabled vet, struggling to adapt to his newly ruined body, as he attempts to tame the fury and anger that fills him. A film that is careful in its observations about human emotions, and which exudes serious drama — you care about these characters and hence you care what happens to them. Unfortunately, as in real life, not all endings are happy ones.

Lovec jelenů (1978)

Nejhorší!

Captured as prisoners of war in Vietnam, Christopher Walken is so disturbed by his wartime experiences, that when the war is over, rather than return to Pennsylvania to melt steel, he instead ends up as a drunk in southeast Asia, playing Russian Roulette for money. As you might imagine, there is a scene in this film where someone gets shot.

Of course, including Russian Roulette into a film about Vietnam was entirely a fictional conceit thought of by the screenwriters, one which we find slightly offensive. (Vietnam was dramatic enough, you don’t also need to fictionalize an «upping of the stakes» by including a 1 in 6 chance of dying.) Though, we suppose that having the characters be forced to play Russian Roulette could simply be considered a metaphor for any soldier and his chances of dying in a war.

První krev (1982)

Nejlepší!

John Rambo was a Green Beret in Vietnam, one of the best soldiers the U.S. Army had, given responsibility for millions of dollars of equipment and important missions. But in America, John Rambo is just an unemployed drifter. An unemployed drifter that wanders into the wrong town, and ends up in a war with the local Sheriff. The Sheriff tries to arrest John Rambo for vagrancy, Rambo resists and goes on the run, whereby he is hunted in the forests of the Pacific Northwest by first the local Sheriff’s Department, and later the National Guard. Silly, but effectively executed action sequences follow.

The most potent scene of the film though is the ending, where, after having killed a dozen or so Sheriffs and National Guard soldiers, Rambo breaks down crying, admitting that he suffers from PTSD. Poor, sad, Rambo!

While for a lot of people having Rambo cry about PTSD seemed silly and overwrought, I liked the filmmaker’s decision. I thought it was a risky move to have their super soldier reveal himself to be vulnerable and wounded, and, ultimately, revealing himself to be a lot more like other soldiers than we initially thought.​

Jackknife (1989)

Nejhorší!

Robert DeNiro stars in this ​little-seen film (along with Ed Harris) about a Vietnam vet struggling with PTSD as he starts a new romantic relationship. The film has good intentions, but ultimately, doesn’t offer enough gravitas to support the film’s running time. In other words, it’s a film entirely about one vet’s romantic relationship and it’s a bit boring.

In-Country (1989)

Nejhorší!

The story of a teenage girl whose father was killed in Vietnam, attempting to come to terms with her lost family, by way of getting closer to her uncle (Bruce Willis), a Vietnam veteran himself surviving from Post Traumatic Stress Disorder (PTSD). A well-intentioned film, but one that assumes the qualities of a «Made for TV» movie, and is ultimately forgettable.

Narozen 4. července (1989)

Nejlepší!

One of the most effective scenes in the film is when Kovic (played by Tom Cruise), comes home drunk in the middle of the night and gets into a screaming match with his parents. Kovic starts screaming that he and his fellow Marines killed women and children while in Vietnam, while his mother covers her ears with her hands, screaming back at him, calling him a liar. (Momma obviously doesn’t want to hear the horrible truths her son is telling her!) It’s a terrifying scene to watch, and Cruise masterfully plays Kovic in the throes of a full-on meltdown. PTSD has never looked so horrifying. The second in Oliver Stone’s Vietnam trilogy.

Hurt Locker (2008)

Nejlepší!

The protagonist is an Explosive Ordinance and Disposal (EOD) expert who is addicted to the rush of combat. But when he returns home to the states, he doesn’t feel like he fits in, he struggles in his relationship with his wife and son and is paralyzed by simple decisions like choosing what type of cereal to buy at the grocery store. In short, he has become an all but ineffective human being, because he craves combat. It’s a fascinating and interesting dynamic to put in a film.

Film focuses on other war injuries

Jason Hall’s “Thank You for Your Service” proves that war-themed films need not focus on combat to be effective. Based on David Finkel’s acclaimed 2013 nonfiction book of the same name, this harrowing drama shines a light on the inescapable mental hell so many veterans of our armed forces face every day. Considering the fact that there seems to be no end in sight to the country’s involvement in the Middle East, the film feels irrefutably apt.

The picture marks the directorial debut of Hall, whose abilities to brilliantly inscribe and portray the emotional afflictions of the modern soldier were on full display in Clint Eastwood’s “American Sniper.” He has whittled the book’s discussion of soldiers from the 2-16 Infantry Battalion down to the lives of three, all of whom are connected and bonded by combat experiences, the details of which are entirely and expertly hidden behind shell-shocked dialogue until the very end of the film.

There’s Adam Schumann (Miles Teller), a selfless Sergeant whose self-destructing tendency to prioritize the building troubles of others before his own makes him some sort of G.I. George Bailey; Tausolo “Solo” Aieti (Beulah Koale), an American Samoan suffering the effects of a brain injury; and Will Waller (Joe Cole), who returns home to find that his wife has left him and taken their daughter with her. They have each entered a new kind of battle.

It does not take long for this battle to commence. Upon arriving at the airport, even before he gets a chance to see his wife, Saskia (Haley Bennett), Adam is confronted by Amanda Doster (Amy Schumer), the widow of a fellow soldier, who begs him for the details of her husband’s death. He tells her that he wasn’t there when it happened, but the pained and tired look in his eyes signifies that there is much more to the story.

And there is. And it is the story Hall masterfully withholds from us. Among the many wartime incidents suggested to be haunting Adam, only one is depicted early in the film in which he desperately tries to help a fel low soldier, Emory (Scott Haze), who has been shot in the head by a sniper. Adam attempts to carry Emory down the many flights of steps, only to drop him when he begins choking on the blood gushing from the wound. None, for their own reasons, are completely spared of guilt.

Though the combat itself is scarcely on the screen, its presence can be felt in any shot Teller is in. With every movement, the 30-year-old actor, whose impressive trend of successful dramatic roles which spans back to “Whiplash” continues, drags the emotional turmoil of a thousand men, making Schumann a living martyr of a broken system.

However, “Thank You for Your Service” does not denigrate the military – that is, with the exception of one encounter between Adam and an ignorant colonel who is completely oblivious to the prominent emotional pain the man standing in front of him is experiencing.

The people working at the VA facility, including a therapist who takes time from her lunch to meet with Solo, are depicted as caring and good-hearted. As Adam and Solo sit in a waiting room amongst hundreds of other veterans from all eras of the army, it is obvious that these workers are overwhelmed by the magnitude of the problems before them.

The first-time director does an impressive job covering these problems himself, though subtlety is not necessarily his specialty. One sequence, in which a war-based video game triggers a breakdown from one of the men, feels out of place in its aggression, and another which sees Solo tend to a wounded fighting dog nearly screams symbolism. Hall’s tedious tendency to hold our hands through his rather palpable outlook can be felt until the very end, with a Bruce Springsteen song that hits the mark all too well.

However, the overall emotions, which are rooted in the PTSD-infested minds of our returned American heroes, are genuine enough to overpass this minor misstep of direction. The movie is not merely about the horror of wars – it simply tells us that when you go to the hell of war to fight, you will never stop fighting – and after experiencing it, a new appreciation is found for the bravery and agony endured by all of our veterans, not just the ones that come home in bandages.

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