The moment I saw that long line of soldiers making their way down the tarmac and watched as Joe waved goodbye from the steps of the plane, I knew that I had just witnessed something very important and very special.   I had just seen an early cut of Jake Rademacher’s amazing Brothers at War.

I knew Jake from seeing him around the William Morris Agency (they’ve since merged with Endeavor) where we are both represented as voiceover actors.  While sitting in the waiting room one day, preparing to read our copy, we got into a conversation about current events and the subject of Iraq came up.  It came out that I’m a former Marine and, although I served years ago, Jake was interested to hear my take on things.  Soon after, he invited me to watch his film and give him some feedback.  Of course, he prepared me by giving me a few disclaimers (it’s still a little long, there’s no music, yet, etc.) but otherwise just let me watch it uninterrupted in a tiny editing room in Burbank.

When it was over, I was blown away.

If you don’t already know, Brothers at War follows the Rademacher family as three of their sons deploy to and return from Iraq.  Two brothers, Isaac and Joe, are soldiers.  One, Jake, is an actor and filmmaker.  Jake wants to know what his two brothers are really doing in Iraq, so he takes a camera to go and find out.  The result is the best and most straightforward modern war documentary that I’ve ever seen.

Brothers at War doesn’t take a clinical outsider’s view of the war in Iraq and the men and women fighting it but, rather, feels as if it actually puts you in the boots on the ground among our soldiers and Marines.  It is an extremely personal experience filtered through a lens of simple curiosity and a thirst for understanding.

I especially appreciated the fact that Jake’s film opens a window for family members left behind to see what life is like for their loved ones serving overseas.  I believe they will find great comfort in realizing that not every moment in Iraq was filled with the stress and horrors of war.  As one gentleman said, after viewing the film, “There are many things that, at times, I tried to explain to my wife… that I could not explain and that this film allowed me to share with her.”

As I got to know some of the different “characters” in the film, I felt a wave of recognition.  These were the guys I served with.  At least, it felt that way.  This is certainly how I remember them.  Just regular guys doing the job that is required of them with professionalism, determination and, certainly, no lack of humor.  I hate to say it but, with a few exceptions, fictional military films rarely trigger that same feeling of recognition.

A few weeks after I watched the film, I saw Jake at William Morris again.  He had just returned from Iraq where he’d screened the film for some of the troops over there.  He was encouraged by the response it had gotten. He told me that a Lieutenant Colonel suggested that Jake show the film to Gary Sinise.  She knew that Gary is a tireless supporter of our military and thought perhaps he might be able to help Jake get the film out there.

I informed Jake that I know Gary and can attest to his dedication to the men and women of our Armed Forces.  I said that Gary should absolutely see Brothers at War and I would do my best to make it happen.  The rest, as they say, is history.

Gary immediately got behind the film and, on top of everything else this incredible man does, he enthusiastically helped move the project forward.  Jake eventually asked Gary to officially accept the title of Executive Producer as he’d been doing that job anyway and I’m happy to have had a tiny part in helping connect Gary to this outstanding film.

If you haven’t seen the film, I can’t recommend it highly enough.  It is a real, honest and refreshingly apolitical look at the people serving our country in these difficult times.  It is a story about brotherhood… brothers by blood and brothers by circumstance.  Mostly, it is about purpose.  Why do they, as soldiers, Marines, mothers, fathers, spouses and siblings, do what they do?  Through the experiences of the Rademacher family, Brothers at War gives personal insight into all of these subjects.

If you have already seen the film, you ain’t seen nothin’ yet.  The special features on this disc are fantastic.  Lots of extra footage has been edited beautifully into several short pieces that stand alone quite well.  Some highlights include:

• The homecoming of the unit that we get to know during Jake’s reconnaissance mission on the Syrian border.
• An Iraqi Security Council meeting in which military leaders meet with local tribal elders.  At a time when the outcome was far from certain, this is a fascinating look at the political and military reality on the ground.
• Isaac’s thoughts on preparing for his 4^th deployment and separation from his young daughter.
• We find out what happens with Joe and Danelle.

There are some very poignant moments in the extra footage including an interview with Marine Staff Sergeant Edward Allier, who almost steals the show in the feature.  SSgt Allier talks about some of the brutal realities of his job and things get very heavy as Jake asks more probing questions.

Finally, there is something on the DVD that I think will be absolutely cherished by one family, in particular.  Jake was allowed to film the memorial service for a fallen National Guardsman in which soldiers pay tribute to their friend, comrade and fellow Michigander.  Upon seeing this, I couldn’t help but wonder if the soldier’s family had seen it.  Having lost my oldest brother (under much different circumstances) when I was a teenager, I wish that I had something this moving to remember him by.  I hope the soldier’s family hears of it.

There’s one more thing I’d like to say… Brothers at War almost doesn’t play like a documentary.  It flows incredibly well, the pace keeps the viewer engaged and it’s, at times, visually stunning.

Congratulations, Jake, on making an exceptional film.  I know how much of your heart has gone into it.  I’m proud to know you and look forward to seeing what you do next.

ESome Ed. Notes:

1. You can purchase the DVD here. 

SPECIAL FOR BIG HOLLYWOOD READERS:

Use the promo code: bighollywood and receive a 10% discount on all orders. And on top of the over $100,000 “Brothers at War” has already raised for Veteran Causes, a portion of these profits will also support our service members and their families. Buying directly is also the best way to support the team that made the film.

SRP for “Brothers at War” is $19.99, so with 10% off you’ll save $2.

Order 2 copies and shipping is free. 2. Here’s a terrific series of Big Hollywood interviews with Rademacher: Part One – Part Two – Part Three – Part Four

3. Five For Fighting’s John Ondrasik talks about how “Brothers at War” inspired him here.

4. Gabe Ledeen, a U.S. Marine and Iraq War veteran, reviews “Brothers” here.

Note:  Part 1 of this 4 part interview can be found here, Part 2 here and Part 3 here.

J.R. Head:  I felt that one of the most important things about the film was that it allows the folks that are left behind, the friends and loved ones, to get a glimpse of a soldier’s everyday life.  I served during relative peacetime but, even for me, it was difficult to explain what my day was like to my girlfriend, to my family… They were always imagining something bad happening.  And, let’s face it, peacetime or wartime, sometimes bad stuff happens.  We train hard, there are accidents and sometimes people die but for the most part you’re just doing your job.  I felt like “Brothers at War” gives folks a good look at what really goes on and allows them to relax a little bit.  Y’know, there’s not, say, a mortar attack every five minutes. 

“Brothers at War” Director, Jake Rademacher:  It’s a great tool for a soldier to allow loved ones a window, a good look at what life is like for them during a deployment.

JRH:  Exactly. That being said, why should someone who doesn’t have a family member serving see this film?

JR: Because they are going to gain insight that you can only gain from being on the frontlines or in the middle of a family living this war on a daily basis.  I had an advertising executive in New York say, “What I loved about “Brothers at War” was that you allowed me to ride shotgun on your journey and you never told me how to think or feel about anything.  I just got to take it all in and make up my own mind.”  I’ve had so many people thank me for not making it political.

When coming to see “Brothers at War” someone from outside the military family is coming in with a number of assumptions whether they know it or not.  As an audience it is always delightful to be surprised, to make discoveries, to be able to have your perspective challenged and informed.

In “Brothers at War” they get to dive right in and meet these guys, as they are, while they are doing this life and death work, creating relationships that will hold a special meaning for the rest of their lives.  For someone who wants to understand camaraderie and the special humor that comes out of living in this alien environment, this film is a good way in.

Insight and the intimate look into the inner relationships of a family is something that everyone can relate to.  In “Brothers at War”, Isaac comes home from war and his daughter doesn’t recognize him.  That happens in real time.  This one guy told me, “You had three grown men crying back here.  We all have young kids.  I go away for a week and I miss my kids like you wouldn’t believe.  I never really understood what those guys do until I saw your brother come home to his daughter after seven months.  I finally got it.”

My agent at William Morris, Erik Seastrand, saw the film and asked me all these questions about my brothers and about my relationship with them.  I mean, he really grilled me.  Finally, I said, “Come on, Erik, you know what it’s like.  You’ve got brothers.” He said, “No.  I don’t.” The film was a way for him to better understand brotherhood. In the end, it’s a film about brotherhood set against the backdrop of the war in Iraq.

It’s also a film about an American family facing the crucible of war.  I think anyone who wants to know more about who is fighting the war, the impact that it has on their families… I think they’ll find “Brothers at War” very interesting.  

After screening the film at Notre Dame, (fellow ND alum) Brandon Tuley said to me, “I learned more in sixty minutes of watching your film than I did in four years of watching the news.” So, save yourself four years of watching the news and come watch “Brothers at War” (laughs).

JRH: That’s good.  We should close with that (laugh).

JR: Before we do, I want to tell you a little about some of the folks without whose help we would not be sitting here discussing Brothers at War.  First, my producing partner, Norman S. Powell, was really a mentor to me as a director and producer.  As a filmmaker, he really coached me, taught me to trust my instincts, challenged some of my choices, and put a lot of love and time into making “Brothers at War”.  His expertise and tutelage were a tremendous boon.

Many have commented on the excellence of “Brothers at War,” and a lot of credit needs to also to Bob DeMaio who did a great job editing the film.  He understood what I was trying to accomplish with the footage, and his sensitivity and taste allowed all the layers of emotion and meaning to exist, bubbling under the surface of the film.

We have received repeated compliments regarding the cinematic look of the film.  Sony featured “Brothers at War” at their kickoff event for NAB (National Association of Broadcasters) this year alongside Michael Mann’s upcoming “Public Enemies,” George Lucas and the Dallas Cowboys.  Conor Colwell who shot some of the startling, beautiful, and at times poetic images in the first third of the film deserves much credit for the unique look.  Marc Miller was instrumental in teaching and coaching us both in coverage and look.  His years of expertise were invaluable.

Finally, there would be no film, without the courage of a number of small business owners from my hometown of Decatur, IL.  After I had gone through my own finances, I had to raise a lot of money fairly quickly to fund the making of “Brothers at War”.  I went back to my hometown and approached small business owners, family and friends to see if they would invest in my idea.  These small business owners, family and friends voted with their pocketbooks to make “Brothers at War” a reality.

JRH: That’s outstanding.

JR: It’s true. The majority of the financing for “Brothers at War’ came from Heartland families. 

JRH: My hat’s off to them.  And to you, Jake.  Thanks for taking the time to talk with me.  You’ve got a great film.  Good luck with it.

JR: Thanks. It was my pleasure.

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I recently went to see “Brothers at War” again, while it was here in Los Angeles. The film has lost nothing in the months since I’d last seen it. If anything, it’s gotten better. Get out and see it. Asses in seats, people. That’s how we get more films like “Brothers at War.”

Semper fidelis,

J.R. Head

“Brothers at War” opens today in Peoria, IL, Shreveport, LA and Oakdale, MN.  It will be coming soon to Carlisle, PA.

Note: Part 1 of this 4 part interview can be found here.

J.R. Head:  Tell me about the time frame of the film.  ”Brothers at War” was shot in 2005?

“Brothers at War” Director, Jake Rademacher:  Isaac departs in 2004, I join him in August 2005, and events in Iraq and on the Home front go through 2006.

JRH:  So, that’s pre-“Surge”.  But one of the things I noticed from the film was the advancement that the Iraqi Army was making.  I was encouraged by the individual efforts of people like [Marine] Staff Sergeant Allier and others to–

JR:  Correct. “Brothers at War” rolls back the clock to a time in the war when the future of Iraq wasn’t necessarily determined and, in fact, a number of people in America thought it was a lost cause.  In “Brothers at War” the audience gets a glimpse into where things were going, and insight into what led to the tremendous turnaround in Iraq.  They get to drop in with the Iraqi Army and see them in action.  The unit that I embedded with was the first Iraqi battalion to get it’s own “battle space” in all of Iraq.  They were actually in charge of that space, working with United States Marines who were military advisors.  The audience gets to walk alongside SSgt Allier as he mentors a company sometimes very humorously, sometimes in life threatening moments.  They were in charge of that space in Jazirah.  Jazirah is in the middle of the Sunni Triangle, just north of the Euphrates, between Ramadi and Fallujah.  The Iraqi battalion’s mission was to take this safe haven away from the insurgents, many of whom were coming in from other countries and using this area as a staging ground for operations in Ramadi, and Fallujah.  Almost all the insurgents that we ran into had Syrian passports.  Many used tactics that gave evidence of serious military training. 

JRH:  So, the mentorship that the Marines–

JR:  The mentorship, the standing up of the Iraqi army was a key component to winning the war.  What the Surge did was… General Petraeus multiplied that strategy.  What’s exciting about what he did was Petraeus had the audacity to ask for 20,000 more soldiers at, politically speaking, the worst time he could have done it.  He had the perseverance and the strength of character to take the slings and arrows that came with asking for them.  What he did with them was also just mind-boggling at the time.  He took what we see working in the film and he multiplied it across Iraq!  He said, “That’s working, so let’s do that all over the place.  Let’s take our platoons and Iraqi platoons and put them together and give them this battle space.  And we’ll put these other guys together and give them this space over here.  We’ll make them live together, work together and patrol together.”  And that’s really what the Surge was.  It wasn’t just 20,000 guys getting thrown into the mix.  He multiplied their impact by pairing them up with Iraqi soldiers.  Look at SSgt Allier teaching the Shia soldiers to interact with the Sunni citizens.  They’re afraid to do it, at first, but then they do it–they get to know them.  The Sunnis start to realize the Shia aren’t there to kill them and vice versa and they start to develop a relationship.  And that relationship, on a much larger scale, is what led to the Surge working.  These elements working together.  The other thing you see, early in the film, that was pre-Surge and very effective was the recon that my brother’s guys were doing.  What they were trying to do was shut down the inflow of–

JRH:  –Foreign fighters–

JR:  And foreign ammunition!  Explosives and detonating devices.  They were helping to shut down the flow of that into the country.  All along the Syrian border, like in Haditha… Haditha was the worst smuggling area in the country.  So, stuff would come in through Haditha and then go along what is called a “rat line” to Ramadi, then to Fallujah and to Baghdad.  Or to Ramadi and then up to Mosul.  You get to see what was effective in limiting the flow of foreign fighters, basically attacking them as they came in and eliminating that pipeline.  You get to see the Iraqis getting on their feet for the first time.  Sometimes stumbling, other times doing well and you see the Marines giving them encouragement and helping them through very real obstacles.  Literally, guys getting their leg torn up or their face messed up and going back out on patrol the next day.  They’re pointing out, you know, “Here’s what you did.  This was good but here’s what you can do better.”  I mean, war is not just like a light switch to be flipped on and off.   It’s a very long process.  Learning to do anything well takes a long time.  It takes even longer to get 130 guys to act together as a unit in combat.  Basically, I think there was a lot of success under General Casey’s command that went unreported and it was these successes that allowed General Patraeus to come in and generate the amazing successes that he did.

JRH:  Some called it the “beat cop” strategy–

JR:  The “beat cop” strategy!  In a warzone!  Which, if you step back and think about it, is scary as hell.  There was resistance from all sides.  People said it was crazy to drop our guys into the most dangerous neighborhoods and have them live there.  “We’re not gonna give ‘em a base.  They’re gonna make their own base with an Iraqi Army platoon.” (snorts) These guys are wondering, “Are they infiltrated with terrorists?  Can we trust them?”  Crazy.  Bold and crazy.  But it was exactly the right move.

————

In Part 3 of this 4 part interview, Jake Rademacher talks about some of the recognizable names that rallied behind “Brothers at War,” the festival circuit and more.  Stay tuned.

Semper fidelis,

J.R. Head

“Brothers at War” is currently playing in Los Angeles at Santa Monica’s AMC Broadway 4.  It is also currently playing in Springfield, IL, White Plains, NY and Knoxville, TN.

Cpt. Isaac Rademacher — Jake Rademacher

After some initial pleasantries (actor talk, a little sports, our mutual respect for Gary Sinise, etc.), we got down to it.

By the way, if you want to get a true feeling of how the interview was for me, try to read it very quickly.

–

J.R. Head:  First, let me say “Brothers at War” looks fantastic.  You’re an actor.  What was it like to make the transition to first-time director?

Jake Rademacher: I always had a fascination with story and who people are since I was a young boy.  I did a lot of reading growing up, watched a lot of movies, and eventually won the English award in High School.  I then went on to Notre Dame after poor eyesight kept me out of West Point and studied English.  I was actually overseas studying at Trinity College Dublin during my junior year when I discovered acting.  What I learned as an actor greatly informed not only my directing, but what I decided to focus on in “Brothers at War.” Traveling around the country as a stage actor gave me an understanding of story and audience from the boards, being up there in front of them.  In preparing for those roles, I spent a long time studying behavior, I wanted to give the audience something real.  In order to do that I would research extensively.  I think that element; spending all that time and all that focus and all that energy trying to understand people, trying to learn about them, trying to figure out how they work, understanding who we are and why we are and what we do, I think, had a lot to do with my ability to have “Brothers at War” cut to the bone of who my brothers, my family, and the warriors on the edge of the battlefield are.

JRH:  What about the look of the film?  You shot some of it, yes?  Who taught you to shoot?

JR:  A friend of mine, Ben Byer, got diagnosed with ALS, Lou Gehrig’s Disease, and he asked me to go out to the east coast with him and shoot some interviews and B-roll for him.  I said, “I don’t know.  I’ll do whatever I can to help you out but I’ve never shot anything before.”  He said, “Don’t worry about it.  I went to Paris Film School. I’ll teach you.”  I said, “Ohhhh-kay”.  I went over to his home in Chicago, and he gave me a crash course in shooting.  Over the course of a few hours he taught me about focus, aperture… the way he taught me shot composition was he took a book of these amazing stills, a lot of black and whites, and he just showed me how to construct a shot.  The meaning behind a shot.  Framing.  After catching the acting bug in Ireland, I toured Europe during the summer and would spend hours entranced by Monets, Renoirs, Van Goghs …across Italy and France.  Later, every year a major exhibit would be featured at the Chicago Museum of Art, and I would spend hours just looking at paintings.  Absorbed, fascinated, taking it all in.  I think all those paintings, telling a story or conveying an emotion in one frame, in a picture, left a deep impression.

JRH:  So, an appreciation for painting–

JR:  –for painting, for a beautiful still.  That was the start, but I learned a lot about shooting on the fly from my two DPs (directors of photography), Marc Miller and Conor Colwell.  Conor was at LMU film school and I could just tell from his reel that he had the eye. He really knew how to tell a story in a shot.  Marc has over 25 years of experience.  Conor is kind of young and hip.  So, it was a good mix.  I learned from both.  Stan Eng also accompanied Conor and I on the first trip and shot some good stuff as well.

JRH:  So, they were able to kind of mentor you a bit and–

JR:  Their tutelage came in handy especially during the second trip.  Marc has a wife and kids, so I had an issue with putting him in the most dangerous spots.  I’m single, you know.  No wife.  No kids.  So, I climbed the walls with the snipers, was in the lead Iraqi unit as it pushed out the gate.  Norman S. Powell, my producing partner looked at the footage and said I really grew as a photographer over the course of the embeds.  

JRH:  What did you most want to take home with you?  Was there a point where you said, “This is the shot I came here for?”

JR:  I thought the people were the most interesting thing to see in Iraq.  I wasn’t interested in getting them to say something that I had written, to fill in some kind of outline.  I was on a mission of discovery.  I hadn’t written my script ahead of time.  So, I was really interested in finding out who the guys were, why they did what they did and what they had to say about it.

–

JRH:  That gets into another question I have for you.  As we see in the trailer, you say you wanted to know why your brothers do what they do.  Couldn’t you have just asked them?  What compelled you to go and see things with your own eyes?

JR:  That’s an interesting question because the thing is you can’t ask them.  I mean, you can ask them–The problem is that they try to tell us but give up because it’s too hard to explain.  The chasm is too great.  These guys study combat, not communication.  I found it very difficult to explain to people what it was like and I communicate for a living, so I can only imagine what it’s like to be a soldier and try to communicate it to a civilian.  So, the only way for me to understand, to cross that chasm, was to go, see it and experience it for myself.  There were a couple of things that were important to me.  I didn’t want to make a film with people talking about what they did twenty years ago, when it was distant.  If I’m going to make a documentary, I want to interview them on the job, while they’re doing it and ask them how they feel about it.  How did it feel to be in Iraq, while you’re sitting on the Syrian border, eight hours away from your buddies, in 120 degree heat… How are you feeling about it?  You enjoying yourself?  I figured they might give me a more emotionally in-tune answer there.  Also, this dovetails with the look of the film.  A lot of the interviews are in close-up because I wanted to pick up what’s happening beyond what they’re saying.  I wanted to pick up how they’re feeling, where they are and let all these things inform “Brothers at War”.

JRH:  Did it take a long time for the guys to get used to having a camera in their face?

JR:  Yeah.  Hell, it took me a while to get used to the camera being in my face.  I didn’t want to perform for the film.  I didn’t even know if I was going to be in the film.  I just let myself be filmed because we thought that may be the story.  With them, I think it was a little awkward, at first, so I tended to shoot a lot.  I just kept rolling.  Part of the reason was so that they would forget about the camera.  Further, for the most part, we were “outside the wire” on a mission, it’s dangerous, they’ve got a job to do.  It also got to the point where I’m out there with you–You’re carrying a rifle, I’m carrying a camera.  You’re doing your thing, I’m doing mine.  Under stressful situations, I find you get to know people in a more intimate way.  More so than, say, standing at a bus stop or working with them at a restaurant.  Y’know, nobody is going to lose their life if someone forgets to clear table twelve. 

So, out on a mission, you get closer with people, you get to know a little bit more.  It makes you more in-tune with them.  You spend a lot of time with these guys, so they really get to know who you are.  Bottom line is that we all kind of forgot about the camera because there were more important things going on and I think there was a bit of trust.  I wasn’t like a news crew out for one day on a mission, trying to get the answers I wanted to plug into my story.  I was there as someone in for the long haul.  I was there for three months and went on 30 missions, asked a lot of questions, interviewed a lot of war fighters and had a real interest in what they were doing and why they were doing it.  I think a lot of those guys want to talk about what they’re doing, they just don’t want to have there story suffer the telephone game as it goes from the News Bureau desk to an editor back in the states who does the final edit even though the closest he’s ever been to the Sandbox is when he picks his kids up from kindergarten.  

That was one of the most exciting things for me, to just be there to the point where I just kind of disappear.  When I was with the snipers and we caught that M&M moment, I just faded into the bricks.  I think that was the second hour of footage on them.  I shot a whole other hour of footage before that moment happened.  And by the time they get into the banter: the girlfriend and all that, they’re just doing their thing.  They’re trying to pass the time and they’re not worried about the guy sitting against the wall (me) doing his thing.  They don’t even know if I’m rolling or not at that point.

JRH:  The M&M bit is in the trailer, which looks great, by the way.  It shows a pretty broad range.  It’s not just some dour, heavy-handed thing.  There’s an element of humor as well as more serious tones.  What can the audience expect from “Brothers at War”?

JR:  Well, the trailer is very evocative but, at two and a half minutes, it’s really just a teaser.  The trailer gives you a sense of the danger, of the humor, a sense of the discovery and certainly a glimpse of how we penetrate into the family dynamic.  You’ll get a chance to see these guys reflected through the viewpoints of their wives, their daughters, their fathers and mothers, brothers and sisters.  So, when you start to see somebody through how other people look at them, I think you start to paint a more complete portrait of who these guys are.  An additional element of “Brothers at War” is the opportunity to spend time with and meet a wonderful cross section of the people we have serving us overseas. These unique individuals create a vivid and dynamic portrait of our American Warrior on the edge of the battlefield. 

You get a taste of that in the trailer, you get a moment, a flash of some of the guys you meet along the way.  Each of these guys comes out of the texture of the scene and really takes the spotlight, and you get to know who they really are… who these guys are that stepped up to be Marines and Rangers and Recon Paratroopers and snipers.  Guys working with the Iraqi Army, Iraqis who stepped forward to be a translator in the most dangerous combat units.  You also get a sense of Iraq, the landscape.  You get a chance to go up to Kurdistan, into the Sunni Triangle, out to the Syrian border.  So, you get perspective on Iraq by going on the journey across the country in this story.  

Finally, you get a chance to see how this war is actually being fought.  You get a chance to sit in on an intel brief and be out at a reconnaissance site at night as the action is happening.  Then during the day, when nothing is happening.  You’re with the soldiers baking in the sun and waiting for the next moment of action the next night.  You get to go out with the National Guard snipers and see how they’re trying to ferret out the bad guys.  Trying to catch them in the act of placing I.E.D.s or walking out of mosques with automatic weapons.  You get a chance to see the Iraqi Army and make your own evaluation about why it takes more than ten minutes to set up the Iraqi Army.

————

In part two, Jake Rademacher talks about “pre-Surge” Iraq, my beloved Marine Corps and more. Stay tuned.

Semper fi,

J.R. Head

“Brothers at War” is currently playing in Los Angeles at Santa Monica’s AMC Broadway 4.  It is also currently playing in Springfield, IL, White Plains, NY and Knoxville, TN.