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Last Flag Flying

Last Flag Flying is a 2017 American comedy-drama written and directed by , based on the 2005 novel of the same name by , which serves as a spiritual sequel to Ponicsan's 1970 novel that inspired the 1973 of the same title. The stars as Larry "Doc" Shepherd, a former Navy corpsman, alongside as Sal Nealon and as Reverend Richard Mueller, portraying three veterans who reunite after Doc's son, a killed in , prompting a cross-country journey to arrange a non-military burial. Released on November 3, 2017, by Amazon Studios and , it runs 125 minutes and is for language, some sexual references, and drug use. The narrative centers on the trio's odyssey from to , confronting grief, evolving views on patriotism, and discrepancies in official military accounts of the son's death, while interweaving humor with candid discussions of their past service and contemporary wars. Linklater's direction emphasizes naturalistic and character-driven storytelling, drawing from his signature style seen in films like and Boyhood, with production involving collaborations with the original cast considered but ultimately recast for this iteration. Supporting performances include J. Quinton Johnson as the son's comrade and in a brief role, contributing to the film's exploration of intergenerational military sacrifice. Critically, Last Flag Flying holds a 77% approval rating on based on 218 reviews, praised for strong ensemble acting—particularly Carell's restrained portrayal of mourning—and its balanced treatment of anti-war sentiments without overt preachiness, though some critiques noted pacing inconsistencies. On , it scores 65 out of 100 from 45 critics, indicating generally favorable focused on thematic relevance amid post-Iraq War reflections. The film earned two wins and 11 nominations, including Image Award nods for Outstanding Motion Picture and Supporting Actor for Fishburne, but did not secure major Academy Award contention despite early buzz for performances.

Synopsis and Characters

Plot Summary

Thirty years after serving together in the , former Navy corpsman Larry "Doc" Shepherd (Steve Carell) reunites with his old Marine comrades Sal Nealon (), a foul-mouthed bar owner, and Richard Mueller (), now a Lutheran , upon learning that his son, Larry Shepherd Jr., has been during the . Doc rejects the U.S. military's arrangement for burial at and instead opts to transport the casket to New Durham, New Hampshire, for a private interment near his late wife's family plot. The trio converges in , where they enlist the aid of young Preston (J. Quinton Johnson) to secure and load the sealed casket into a government-issued van for the cross-country drive north. En route, the veterans share raucous anecdotes from their service, including mishaps involving Doc's future wife, whom both and Mueller knew, while grappling with grief, aging, and disillusionment with military bureaucracy. Stops include Mueller's church, where he preaches a on and loss, and a poignant encounter with the elderly mother () of a fallen comrade, highlighting enduring personal tolls of . Tensions arise from Sal's impulsive antics, such as and brawls, and revelations about the official narrative of Larry Jr.'s death, which discloses as a for during an —misreported as heroic enemy engagement to preserve unit morale and avoid scrutiny. Doc wrestles with exposing this deception to his bereaved widow but ultimately chooses silence to afford her solace in the sanitized version, prioritizing emotional closure over unvarnished truth. Upon reaching on October 2003, they conduct the burial with adapted military honors, the friends parting with renewed bonds forged in shared defiance and reflection on patriotism amid institutional deceit.

Cast and Roles

Last Flag Flying (2017) stars as Larry "Doc" Shepherd, a veteran grieving the death of his son, a killed in . Bryan Cranston portrays Sal Nealon, a boisterous former running a sporting goods store, who joins Shepherd on the mission to bury his son. Laurence Fishburne plays Reverend Richard Mueller, formerly Mueller in the military, now a pastor who provides spiritual guidance during the journey. Supporting roles include J. Quinton Johnson as , a escort; Yul Vazquez as Lt. Col. Malcolm Fitzhugh; and Cicely Tyson as an unnamed role in a brief appearance. The characters draw loose inspiration from Hal Ashby's 1973 film , with Shepherd echoing the original "Doc" Meadows, Nealon akin to "Bad Ass" Buddusky, and Mueller to "Mule" Mulhall, though recast with new actors for this spiritual sequel.

Production

Development and Adaptation

Darryl Ponicsan published the novel Last Flag Flying in 2005 as a sequel to his 1970 book , which had been adapted into Hal Ashby's 1973 film starring . The novel follows three veterans reuniting decades later amid contemporary military conflicts, shifting the characters' dynamics from the original story while retaining thematic echoes of camaraderie and disillusionment. Richard encountered Ponicsan's novel shortly after its release and sought to adapt it into a , initiating development efforts around 2005–2006. Despite initial interest, the project languished for over a decade due to challenges in securing financing and aligning creative visions, with describing it as a "long-in-the-works" endeavor. In 2016, partnered directly with Ponicsan to co-write the screenplay, which positioned the story as a spiritual sequel to rather than a direct continuation, altering character names and emphasizing dialogue-driven elements over strict fidelity to the book's plot. The adaptation process involved updating the narrative to reflect military experiences, particularly the , while preserving Ponicsan's focus on veterans' personal honor amid institutional distrust. Linklater's approach emphasized naturalistic performances and improvisational scripting techniques honed in his prior works, diverging from the novel's more introspective tone to heighten interpersonal tensions through extended conversations. Amazon Studios ultimately greenlit the production in August 2016, enabling to commence later that year.

Casting and Pre-Production

first encountered Darryl Ponicsan's 2005 novel Last Flag Flying, a to his 1970 novel , around that time and attempted to develop a , but the project stalled due to unsuitable timing amid post-Iraq War sentiment. Over the next decade, Linklater and Ponicsan collaborated iteratively on the , with Ponicsan providing initial drafts faithful to the book and Linklater rewriting to condense the narrative, add Vietnam-specific backstory for the characters, and refine dialogue organically without structured outlining. formally began in September 2016, with scheduled to start in November. The screenplay evolved through multiple revisions, incorporating input during rehearsals, such as actors suggesting dialogue tweaks to enhance authenticity. A key step involved a two-week in a Los Angeles , including five days focused on the lead actors to foster onscreen chemistry simulating decades-old friendships and to test script elements. Linklater initially envisioned recasting the original 1973 film principals—, , and a replacement like for the deceased —but this proved unfeasible. Instead, in August 2016, the roles went to as the brash Sal Nealon, as the measured Reverend Richard "Mule" Mueller, and as the reserved Larry "Doc" Shepherd, selected for their contrasting personalities that mirrored the characters' dynamics and ensured believable camaraderie. Carell's aligned with the Quaid-inspired Doc role, emphasizing vulnerability amid loss. Supporting roles included as Mrs. Hightower and J. Quinton Johnson as the young Marine Washington.

Filming Locations and Techniques

Principal photography for Last Flag Flying commenced in Pittsburgh, Pennsylvania, in November 2016, with a three-month fall shoot capturing much of the film's road-trip narrative in and around the city, including recognizable Bloomfield neighborhoods standing in for other East Coast settings. Specific Pittsburgh-area sites included the decrepit Norfolk bar-and-grill owned by character Sal Nealon, as well as interior and exterior shots at the Knights Inn in Greensburg for motel sequences. Additional locations encompassed Dover Air Force Base and the Air Mobility Museum in Dover, Delaware, for military-related scenes; Cold Spring, New York; and four days of filming in New York state to complete East Coast exteriors. The film employed a naturalistic approach under Shane F. Kelly, utilizing a VariCam digital camera outfitted with Primo lenses to achieve a gritty, filmic quality suited to low-light interiors and moody exteriors. Techniques emphasized intimacy through harsh, revealing close-ups that highlighted aging veterans' physical details like wrinkles and , while varying camera heights and adjustments accommodated confined spaces such as cars and trains. Mobile shots often captured through windshields during driving sequences, maintaining a subdued, grey-toned palette reflective of the story's introspective tone, with director prioritizing decrepit, authentic locations over polished sets. Linklater's production methods incorporated extensive pre-shoot rehearsals spanning weeks, fostering among the lead actors to blend and humor organically, followed by ongoing refinements during by Sandra Adair. Post-production featured at Light Iron with Corinne Bogdanowicz, enhancing the bleak, rainy aesthetic through cool, dark desaturated tones while preserving a naturalistic feel; minor handled greenscreen composites and scene cleanups via Savage VFX. This allowed flexibility in achieving the film's restrained visual style without relying on traditional stocks.

Themes and Interpretations

Portrayal of Veterans and Military Service

In Last Flag Flying, directed by and released in 2017, veterans are depicted as resilient yet haunted individuals navigating middle age through camaraderie, irreverent humor, and skepticism toward institutional authority. The protagonists—Sal Nealon (), a brash bar owner; Larry "Doc" Shepherd (), a subdued shopkeeper; and Richard "Mueller" Mueller (), a Methodist preacher—reunite in after Doc's son, a killed in , prompts a to transport the flag-draped for . Their portrayals emphasize personal bonds forged in over heroic archetypes, with flashbacks and banter revealing past exploits like AWOL escapades and moral compromises during , underscoring service as a mix of duty, absurdity, and trauma without overt glorification. Military service is shown through contrasts between eras, highlighting enduring valor amid systemic flaws. The veterans' decision to bypass a full military honors funeral—opting for a private civilian rite after uncovering discrepancies in the official account of the son's death, including and unauthorized actions—critiques bureaucratic deception and eroded trust paralleling and experiences. Interactions with a young , who joins their journey, bridge generations, portraying service members as honorable yet expendable in deceptive wars, with the older vets imparting lessons on questioning narratives while affirming mutual . Linklater, from Darryl Ponicsan's novel, frames this as "liberal patriotism," saluting troops' courage while condemning the "government machinery" that deploys them. Veteran reactions to the portrayal vary, reflecting debates on authenticity. Organizations like Vietnam Veterans of America praised it as a rare Hollywood depiction with strong Vietnam themes and relatable characters, while American Legion members at screenings in 2017 described it as "extremely accurate, hilarious, and emotional," evoking laughter and tears through its road-trip dynamics. Conversely, critiques from military-focused outlets argue it patronizes Vietnam-era valor by juxtaposing it with anti-military sentiments, rendering the film "deeply dishonest" in balancing redemption and institutional critique. These responses underscore the film's focus on post-service life—marked by subtle grief rather than explicit PTSD tropes—without claiming universal endorsement, as individual veteran perspectives differ on its tonal restraint.

Critiques of War and Government

Last Flag Flying critiques and governmental handling of conflicts by drawing explicit parallels between the and the , portraying both as marked by deception, futility, and the silencing of service members' experiences. The narrative centers on three Vietnam veterans who reunite in 2003 to transport the coffin of one veteran's son, a killed in , only to uncover lies about the circumstances of his death—revealed as resulting from a civilian's action rather than heroic combat, which the military sought to fabricate for public . This revelation prompts the characters to reject an official in , opting instead for a private civilian burial to honor personal truth over institutional narrative. Director Richard Linklater emphasizes that soldiers, having endured war's toll, often emerge as its fiercest critics, viewing military bureaucracy as incompetent and wars like Iraq as artificially stage-managed to sustain public support despite evident failures. The film highlights the unnatural psychological burden of killing, with Linklater stating, "We’re not meant to kill. We’re not cut out for it," underscoring how conflicts erode human instincts and lead to long-term veteran disillusionment, including high suicide rates. Characters' dialogues express anger at governmental incompetence, echoing Vietnam-era distrust extended to Iraq, where policies like casket bans symbolized efforts to obscure casualties and maintain patriotic fervor amid questionable justifications. These elements collectively indict government for prioritizing over , as seen in the characters' rejection of "flag-flying" honors tainted by deceit, reflecting broader themes of eroded in official war accounts across generations. Linklater positions as a commentary on how each era's war repeats cycles of loss without clear moral vindication, blurring lines between honorable service and futile sacrifice.

Patriotism and Personal Honor

In Last Flag Flying, patriotism emerges not as unquestioning allegiance to state institutions but as a personal commitment to truth and camaraderie amid governmental deception. The protagonists—Vietnam War veterans Sal Nealon, Larry "Doc" Shepherd, and Richard "Mule" Mueller—reunite in 2003 to transport Doc's son, a Marine killed in Iraq, rejecting the military's embellished narrative of heroism that concealed friendly fire and operational failures. Director Richard Linklater describes this as exploring "the many ways you can show patriotism to the USA," emphasizing skepticism toward official war justifications akin to the Gulf of Tonkin incident paralleling claims of weapons of mass destruction in Iraq. Linklater terms this "liberal patriotism," wherein one can harbor "warm feelings about your country" while questioning its leaders' misinformation, distinguishing support for troops from endorsement of endless conflicts like the ongoing Afghan "Forever War." Personal honor drives the veterans' actions, manifesting in their defiance of bureaucratic protocols to afford Doc's son an honest burial on private land, free from Arlington's pomp and fabricated . This underscores a code of forged in Vietnam's shared , where the men prioritize preserving their friend's dignity and the unvarnished reality of sacrifice over institutional rituals. Linklater highlights how such bonds endure decades later, with the road trip revealing how indelibly shapes identity, as seen in Sal's irreverent bar-owning bravado, Mueller's pastoral restraint, and Doc's quiet grief. The film posits that true honor lies in confronting war's human cost—evident in reflections on veteran suicide rates and the innate aversion to killing, as Linklater notes, "We’re not meant to kill. We’re not cut out for it"—rather than perpetuating myths that dishonor the fallen. The narrative critiques equating dissent with disloyalty, as the veterans grapple with the flag's symbolism: "What is patriotism, what does the flag mean, whose flag is it, and are you disrespecting it?" Linklater draws from his Texas upbringing amid Vietnam veterans, portraying their patriotism as resilient yet scarred, favoring interpersonal fidelity over flag-waving orthodoxy. This approach aligns with the source novel by Darryl Ponicsan, updated from its Vietnam-era roots to indict post-9/11 deceptions, though some military observers argue it patronizes veterans by framing their valor through a lens of perpetual victimhood rather than agency. Ultimately, the film elevates personal honor as the antidote to systemic falsehoods, affirming veterans' moral autonomy in service to one another and their nation's ideals, untainted by elite narratives.

Release

Premiere and Distribution

Last Flag Flying had its world premiere as the opening-night film of the 55th on September 28, 2017, at . The screening marked the first public showing of director Richard Linklater's adaptation, following its acquisition by Amazon Studios. Amazon Studios handled production and distribution rights, partnering with Lionsgate for theatrical rollout in the United States. The film launched with a limited release on November 3, 2017, in select theaters, advanced from an originally planned November 17 date to capitalize on awards-season momentum. This strategy aligned with 's push into prestige cinema, emphasizing platform exclusivity post-theatrical window. International releases followed, including at the on October 8, 2017.

Marketing and Box Office

The film's marketing campaign, handled by Amazon Studios in partnership with , focused on leveraging the star power of , , and , positioning it as a poignant reunion story for veterans confronting modern warfare's toll. An official U.S. trailer was released online on August 24, 2017, highlighting themes of camaraderie, loss, and skepticism toward military bureaucracy, which garnered views across platforms like to build anticipation ahead of its festival circuit. Premieres at high-profile events, including the on September 28, 2017, as the opening night film, and the on October 8, 2017, generated early critical discussion and positioned the film as a spiritual sequel to the 1973 drama . Traditional promotional materials, such as posters emphasizing the ensemble cast and road-trip narrative, were distributed digitally and in limited print runs, though the campaign remained modest compared to wide-release blockbusters, aligning with its independent ethos and targeting audiences interested in character-driven war dramas. Last Flag Flying received a in the United States on November 3, 2017, across a small number of screens, reflecting Amazon's strategy of festival buzz followed by selective distribution before streaming availability. Its opening weekend grossed $40,558 domestically, indicative of niche appeal rather than broad commercial draw. The film ultimately earned $965,481 in the U.S. and , with a worldwide total of $1,872,950, underperforming relative to its notable cast and director Richard Linklater's reputation, as indie releases often prioritize awards potential and streaming metrics over dominance. This limited financial return underscored the challenges for mid-budget adult-oriented films in a market favoring franchises, though it transitioned successfully to video-on-demand and streaming on January 16, 2018, broadening .

Reception and Analysis

Critical Reviews

Critical reception for Last Flag Flying was generally favorable, with a 77% approval rating on Rotten Tomatoes based on 218 reviews, reflecting praise for its blend of humor and drama amid themes of grief and patriotism. On Metacritic, the film holds a score of 65 out of 100 from 45 critics, categorized as "generally favorable," with high marks from outlets like Time Out (100/100) and Chicago Sun-Times (100/100) balanced against more tempered assessments. Reviewers frequently highlighted the strong ensemble performances, particularly Bryan Cranston's portrayal of the irreverent Sal Nealon, which injected vitality into the road-trip narrative. The film's exploration of aging veterans confronting loss in the era drew commendations for its emotional authenticity and critique of military bureaucracy, as noted by Slate's Dana Stevens, who awarded it 90/100 for capturing "uncertainties" in friendship and disillusionment. Steve Carell's restrained depiction of the grieving father and Laurence Fishburne's steady Mueller were credited with grounding the story's tonal shifts between and , allowing moments of raw vulnerability, such as a pivotal scene of collective mourning praised by RogerEbert.com's Brian Tallerico as "one of the funniest and most powerful" involving actors portraying grief. Director Richard Linklater's improvisational style fostered natural chemistry among the leads, evoking comparisons to his earlier works while updating Darryl Ponicsán's for contemporary resonances. Detractors pointed to inconsistencies in pacing and structure, with describing it as a "low-key in a tragic frame" that occasionally strains under overly perfect character dynamics, diluting its tragic weight. Tallerico acknowledged regrettable dips into "wacky old person behavior" and noted the film falls short of Linklater's strongest efforts due to repetitive lulls. Some critics, like those at Film Festival Today, found it tedious and flat, rating it 1.5 out of 4 for failing to sustain momentum beyond its premise. NPR's review concurred that, while heartfelt, it does not rank among the director's best, hampered by antic elements that underscore war's wounds but risk sentimentality.

Audience and Veteran Perspectives

Audience reception for Last Flag Flying was generally positive, with a audience score of 71% based on over 4,000 ratings, reflecting appreciation for its blend of humor, camaraderie, and emotional depth in exploring veteran experiences across wars. On , the film holds a 6.9/10 rating from approximately 30,000 users, who frequently praised the authentic dialogue and performances by , , and as Vietnam-era veterans navigating grief and disillusionment. Viewers highlighted the road-trip structure's ability to humanize service's long-term impacts without overt , though some criticized its meandering pace and editorializing on war policy as detracting from character focus. Veteran perspectives often emphasized the film's realistic depiction of post-service life, including banter, , and toward bureaucracy, drawing parallels between and experiences. In discussions among communities, noted accurate details like procedural frustrations with body handling and the ' presence, viewing the story as tailored to resonate with those familiar with service hardships. Publications covering narratives described it as a poignant, non-trauma-centric of loss and bonds formed in , avoiding stereotypes of inevitable PTSD while critiquing deception in casualty reports. However, some service-oriented reviewers preferred films like Thank You for Your Service for deeper insight into contemporary troop struggles, suggesting Last Flag Flying prioritizes dramatic contrivance over unflinching in modern contexts. Screenings on drew strong attendance, with attendees commending its emotional authenticity in honoring interpersonal loyalties over institutional patriotism.

Accolades and Nominations

Last Flag Flying earned modest recognition from critics' associations and diversity-focused awards, but received no nominations from major ceremonies such as the or Golden Globes. won the (AAFCA) Award for Best Supporting Actor on December 12, 2017, for his portrayal of the stoic preacher Rev. Richard Mueller. The film secured two nominations at the 49th announced on November 20, 2017: Outstanding Supporting Actor in a Motion Picture for Fishburne and Outstanding Independent Motion Picture. Neither resulted in a win, with the supporting actor category going to for and the motion picture award to . Additional nominations included for Best Supporting Actor from the Film Critics Association in , contributing to the film's total of 11 nominations across various regional and specialized groups. These accolades highlighted the performances amid the film's themes of camaraderie, though broader awards traction was limited by its late-year release and competition in the awards season.

Legacy

Cultural Impact

Last Flag Flying has contributed to ongoing dialogues about the intergenerational trauma of U.S. military engagements, juxtaposing Vietnam-era veterans' experiences with the through themes of deception, loss, and disillusionment with official narratives. The film's depiction of veterans rejecting a in favor of a private burial underscores skepticism toward government-sanctioned honors, reflecting real-world sentiments among some service members critical of conflicts. Director characterized the narrative as an expression of "liberal patriotism," portraying loyalty to country alongside condemnation of institutional lies and the human cost of , which resonated in cultural critiques of endless military interventions. This framing prompted discussions on how bonds endure despite failures, with the story's road-trip emphasizing personal over heroic myth-making. Veteran communities exhibited divided responses, with some valuing the authentic portrayal of and camaraderie—such as the characters' raw confrontations with mortality—while others faulted it for condescension toward , arguing it redeems vets at the expense of modern warriors' agency. These perspectives highlight the film's role in challenging Hollywood's often sanitized archetypes, though its broader cultural footprint remains niche, confined largely to independent cinema and war discourse circles rather than mainstream phenomena.

Relation to Broader War Cinema

Last Flag Flying diverges from conventional war cinema by eschewing battlefield depictions in favor of a road-trip narrative centered on veterans confronting the death of one veteran's son in the , emphasizing interpersonal bonds and personal loss over combat spectacle. This approach aligns it more closely with introspective veteran stories than action-driven films like (1986), which graphically portrayed 's horrors, or (2008), focused on bomb disposal. Director described it as "my kind of war movie"—domestic and dialogue-driven, without war footage—highlighting themes of grief and camaraderie that echo but subvert genre expectations. The film bridges Vietnam-era and war narratives by drawing explicit parallels between the two conflicts, such as government deception about casualties and the silencing of soldiers' voices, as the protagonists debate repatriating the son's body to avoid a military-honored burial they view as hypocritical. This contrasts with films like (2014), which often emphasize individual heroism amid operational intensity, while critiquing systemic issues akin to Vietnam critiques in (1978), yet without the latter's psychological descent into trauma. Interactions between the aging Vietnam vets and a younger veteran underscore generational continuity in war's human toll, positioning the film as a rare exploration of multi-era solidarity. Unlike many anti-war films that portray as inherently dehumanizing, Last Flag Flying respects the troops' honor and while questioning policy decisions, as evidenced by its portrayal of flawed but loyal veterans rejecting flag-draped ceremonies tainted by perceived lies. This nuance erodes partisan divides on war legacies, offering a pro-human stance that prioritizes and over ideological condemnation, distinguishing it from more polemical entries in American war cinema. As a spiritual sequel to (1973), it extends 1970s skepticism of military bureaucracy into the 2003 context, contributing to a lineage of films examining war's domestic repercussions rather than frontline valor.

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