The harrowing opening scenes of “Atonement,” written and directed by Reed Van Dyk, vividly demonstrate that the fog of war can make itself felt even in broad daylight.
In 2003, during the Iraq War, members of the Khachaturian family are driving across town when they turn into an intersection in Baghdad. Atop a building, American soldiers are told that if anything or anyone on the street below moves, shoot. Soon three family members are killed. A Marine on the roof who pulled the trigger, Lou D’Alessandro (Boyd Holbrook), then realizes what he’s done.
Also present near the scene is a bushy-bearded reporter named Michael Reid (Kenneth Branagh). A decade later he hears from Lou and is compelled to pause his globe-trotting. Now living in San Diego, Lou is plagued by nightmares and hounded by guilt. Lou knows that the survivors of the Khachaturian family live in nearby Glendale, Calif. He wants Michael to arrange a meeting so he can apologize for his actions.
As the inquisitive and compassionate Michael, Branagh does some of his most nuanced acting in recent memory. Holbrook is uncanny as Lou — this solidly built man could be knocked over by a feather, such is the extent to which he’s been hollowed out. But the Palestinian actress Hiam Abbass (“Succession”), who plays Mariam Khachaturian, all but walks away with the picture.
Van Dyk, inspired by a real-life New Yorker story by Dexter Filkins, keeps the proceedings realistic until the very end, when he concocts an allegorical final shot that’s surprisingly resonant.
Atonement Not rated. Running time: 1 hour 58 minutes. In theaters.
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