It is a strong film, but I have reservations, too. The sequences on the ground in war- and/or genocide-torn countries (including Libya and Syria) are so compelling, it is frustrating when the film returns to London for another standard-issue scene of Marie Colvin (Rosamund Pike) ambling around a room full of empty alcohol bottles or arguing with a colleague, friend, or lover; this is the rare film which could use less Stanley Tucci. One might argue this is part of the film's design, reflecting the subject's own challenges in reconciling her volatile career with the urbane life she leaves behind, but it is a frustration nonetheless. The film also never quite achieves the level of devastating poignancy to which it aspires, or at least it did not for me. Documentarian Matthew Heineman (Cartel Land), directing a narrative feature for the first time, stages the war-coverage sequences with impressive clarity and vigor, however. His technical skill coupled with a committed and detailed performance by Pike (in her richest role since Gone Girl) and the inherent fascination and topicality of the material earns the film a recommendation.

P. S. I am as fond of Annie Lennox and Eurythmics as the next pop-music listener, but her original song over the end credits, with its heavy-handed and repetitive "BRING IT ON!" chorus, is dreadful.

The war scenes are staged really nicely and while repetitive at times the emotions from residents of a war engulfed country are heartbreakingly translated onto screen (possibly in one of the best ways possible). Rosamund Pike makes this film, without her endearing performance this would not have worked (this is easily her best role since Gone Girl). The film builds a scene and then switches to Marie's London life which brought me out of the experience and dilutes a lot of tension the movie worked so hard to build. The end is really really good though and its a definite recommendation because of Pike's turn.

B+