Movie critics have pointed to the fact Americans already see the war everyday on the news (at least, for many years they did), and fictionalized portrayals simply don't have the escapism movies can provide.  Then there's the over-saturation of political messages some of the movies contained.  Washington Times movie critic Christian Toto told NPR last year: "A lot of the critics of the more recent films have said that the films are full of speeches, and it's very obvious what the political angle is.  And I think an artist, maybe if he or she had some time to reflect on the material, may give a more nuanced balanced performance."

Creative Loafing's J.r. Jones took a brief look at the history of war movies made soon after the wars they portrayed ended.  He began with 1946's The Best Years of Our Lives, a truly amazing film following three veterans home from WWII as they deal with alcoholism, family tensions, and their injuries.  The film was awarded eight Oscars.  The post-Vietnam era saw the movies The Dear Hunter and Coming Home receive critical acclaim and solid public interest.  Then came Iraq (and notice there really hasn't been any major film looking at the Korean War, other than maybe the Manchurian Candidate -- but, that's a different story).  Jones gave a solid history of Iraq movies up to this point:

Dramas about returning Iraq war veterans haven't received nearly so warm a welcome. The first, Irwin Winkler's Home of the Brave, opened in New York and LA shortly before Christmas 2006 and was released a little more widely the following summer, mostly near military bases, but it quickly vanished. Clearly modeled on The Best Years of Our Lives, it followed three soldiers as they tried to adjust to life in a country that didn't want to think about them or the war they'd been fighting. I wouldn't call it a knockout, but it had some powerful scenes, particularly those involving Jessica Biel as a soldier who'd lost a hand and was now forced to make do with a big, clumsy prosthesis obviously designed for a man. Kimberly Peirce's Stop-Loss, an MTV-produced drama about three young grunts returning from the war to their stars-and-stripes Texas town, got a more respectful rollout from Paramount Pictures this past March, but it flopped, grossing less than half its $25 million production cost.

"The Lucky Ones," co-writer/director Neil Burger's credible if unremarkable follow-up to his extraordinary "The Illusionist," refers to soldiers returning from Iraq in one piece...What follows is a series of occasionally funny encounters, as well as some soapy complications not so unpleasant as they are predictable. There are the requisite moving moments, too, making "The Lucky Ones" no more or less noteworthy than the slew of war movies preceding it in the last year or two.

The film...has Iraq on its mind, though it never mentions the word. It wants to make some kind of commentary on how the country hasn't come to grips with the war or its veterans without taking the issue head-on. Perhaps the director and his co-writer, Dirk Wittenborn ("Fierce People''), thought a lighter, entertaining approach would work after so many box-office failures about the war that were either dark thrillers or dramas. But the contrived and convoluted plot of "The Lucky Ones'' eventually undermines any serious intentions.