Usually, we consider a film a success when its form matches its content. In the case of Andrew Niccol’s “Good Kill,” though, the opposite is true. The movie, which tackles the escalation of drone warfare in the Middle East, takes on the form of a droning screed itself.
It should have felt particularly damning that Niccol chose to make a film set in the present day, since his features – which include “Gattaca,” “The Truman Show,” and “In Time” – tend to take place in dystopian futures. But rather than expanding the discourse around the U.S. military’s increasing reliance on unmanned aircraft to do its dirty work, he chooses to preach to the choir with surface-level platitudes. The target audience for “Good Kill” probably knows the basic philosophical and existential arguments around drones, and Niccol does nothing to explore our complicity in their perpetuating existence.
He sets the film in 2010, the apotheosis of drone strikes in the Middle East, and follows the slow evolution of Ethan Hawke’s jaded Air Force pilot Thomas Egan against the increasingly unethical tasks assigned to him by the CIA. Of course, he would not arrive at those conclusions without a spring chicken of a female pilot, Zoë Kravitz’s Vera, who does little other than spout off the film’s core message. Vera is not a character so much as she is a personified Washington Post column.
Marshall and the Movies 
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