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An Acceptable Loss
An Acceptable Loss
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An Acceptable Loss
Directed byJoe Chappelle
Written byJoe Chappelle
Produced byColleen Griffen
Starring
CinematographyPetra Korner
Edited byJoe Rabig
Music byValgeir Sigurðsson
Production
company
CorradoMooncoin
Distributed byIFC Films
Release dates
  • October 13, 2018 (2018-10-13) (Chicago)[1]
  • January 18, 2019 (2019-01-18) (United States)[2][3][4]
Running time
102 minutes[5]
CountryUnited States
LanguageEnglish
Box office$32,452[3][2]

An Acceptable Loss is a political thriller film written and directed by Joe Chappelle and starring Tika Sumpter and Jamie Lee Curtis. It had its world premiere at the Chicago International Film Festival on October 13, 2018. It was released on January 18, 2019, by IFC Films.

Plot

[edit]

National security expert Elizabeth "Libby" Lamm is hired as an adjunct professor of foreign policy at the prestigious Grant University. She is the former national security adviser to U.S. Vice President Rachel Burke. She arrives amid protests and the university employees are cold to her, including her assistant and another professor who confronts her at a university mixer. Dr. Lamm is recognizable due to a Capital Dispatch op-ed where she explains and defends her role in an attack by US forces, revealed later in the film to be a strike on Homs.

Dr. Lamm is extra cautious about security, preferring to live her daily life without an email address, cell phone, landline or computer. Every night, she comes home to her study and writes feverishly on note pads at her desk. She has over a dozen of them completely filled and locks them in a vintage safe that she purchased from an antique shop. She walks around her home with a loaded Glock 17 and is always alerted to unfamiliar sounds. Dr. Lamm is being stalked by Martin Salhi, a graduate student at the university. Martin is withdrawn and sullen, and is intentionally standoffish from his roommate Jordan. Martin follows her home and later creates fake lawn service flyers as pretext to case her home. He breaks into her home and installs miniature cameras to observe her movements. He watches Dr. Lamm place the note pads in the safe.

One day, Dr. Lamm is approached at her home by Adrian, the president's chief of staff. It is revealed that they were lovers when he was a policy adviser in the White House. He wants assurances that she will not reveal details of the Homs operation but she rebuffs him. A few days later, Adrian returns, this time demanding fidelity to the administration. Dr. Lamm angrily refuses. This incident prompts her to dismiss her class and rush home where she finds Martin breaking into her safe. While holding him at gunpoint, Martin admits to stalking and states that he was trying to understand how someone who could commit such an enormous atrocity, referring to the attack on Homs. He tells her that his parents and siblings lived in Homs and that he wanted "to understand the face of evil." Dr. Lamm then gives him the note pads she had been writing on to read. She is writing a memoir that she wants to be published that exposes the aggression behind the attack.

Four years earlier, Dr. Lamm is in the White House situation room and advises on a plan with a high-security group including the president and vice-president. She tells the group that five leaders of the most dangerous terrorist groups in the world, plus a nuclear scientist, will be meeting in Homs, Syria to discuss strategy. Dr. Lamm favors more conventional action but she is interrupted by Vice President Burke who overwhelmingly endorses Plan 712. The plan involves a nuclear strike that will result in an extreme mass casualty loss. Dr. Lamm ultimately and reluctantly endorses the plan. The attack kills the intended targets as well as causing the deaths of 150,000 civilians. It's revealed that the intel used in the attack was manufactured by Dr. Lamm on Burke's orders.

As Martin finishes reading, her home is broken into by undercover agents. Dr. Lamm and Martin escape and go on the run. Her intention is to take the memoir to her father Phillip Lamm, chief editor of the Springfield Register. They spend the night on the beach but Martin awakens to find Dr. Lamm gone, but the note pads were left with him. Dr. Lamm awakes in a basement and is approached by Adrian and current President Rachel Burke. President Burke tries to convince her to join her cabinet as Secretary of State in exchange for burying the memoir. Dr. Lamm realizes that the agents left the memoir with Martin and are surveilling him, hoping that he would lead them to more copies if there are any. She refuses President Burke's offer and is prepared to accept whatever consequences that come from its publication.

The president leaves and tells Adrian to release Dr. Lamm and end the surveillance on Martin. She believes she will be exonerated by the public by asserting the years of domestic safety as proof of its success. Adrian objects, believing that by not neutralizing the two, it will be political suicide. The president disagrees and overrules him. Dr. Lamm is released across the street from the Springfield Register. She enters the lobby and sees Martin and her father there. Suddenly a bomb explodes and destroys the lobby. It is revealed that Adrian acted on his own. Twenty-three people are confirmed dead including Dr. Lamm, her father and Martin, with the attack being blamed on him. After the apartment they shared was searched by the FBI, Jordan opens an email from Martin that was sent earlier. It's revealed that Martin had secretly bought a burner phone after losing the men that were following him, scanned the memoir and then emailed it to Jordan, asking him to give it to the media to reveal the truth.

Cast

[edit]

Production

[edit]

Chappelle completed the final draft of the script, originally titled The Pages, in January 2017. Tika Sumpter, Jamie Lee Curtis and Ben Tavassoli were cast as leads in June 2017.[6] Production began shortly thereafter in Chicago, Illinois. A large portion of the film was shot at Northwestern University, Chappelle and producer Colleen Griffen's alma mater.[7]

Release

[edit]

IFC Films acquired distribution rights to the film in October 2018.[8] It had its world premiere at the Chicago International Film Festival on October 13, 2018.[1] It was released on January 18, 2019.[5][3][2][4] Its release for Blu-ray and DVD sales took place on July 2, 2019[4] by Shout! Factory.[3]

Reception

[edit]

Box office

[edit]

An Acceptable Loss grossed $32,452 in the United States and Canada.[3][2]

Critical response

[edit]

On review aggregator Rotten Tomatoes, the film holds a 12% approval rating based on 33 reviews, with an average rating of 4.6/10. The website's critics consensus reads, "An Acceptable Loss attempts a political thriller approach to a serious issue, but ends up sacrificing thrills -- as well as a satisfying story -- in the bargain."[4] Metacritic reports a weighted average score of 40 out of 100, based on 11 reviews, indicating "mixed or average" reviews.[9]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

An Acceptable Loss

View on Grokipedia
from Grokipedia
is a 2018 American film written and directed by . The story centers on Libby Lamm, a former national security advisor portrayed by Tika Sumpter, who grapples with the moral consequences of authorizing a preemptive that averted a nuclear threat but resulted in thousands of civilian deaths. co-stars as Rachel Bourlier, the vice president who rises to the presidency and embodies the ruthless pragmatism behind the decision. Libby, now a university professor, faces suspicion from an Iranian-American student who uncovers her involvement, leading to a tense confrontation over the of "acceptable losses" in . Released theatrically on December 7, 2018, by IFC Films, the film explores themes of government secrecy, personal accountability, and the human cost of national security policies. It received mixed to negative reviews from critics, with a 12% approval rating on based on 33 reviews, praised for its ambitious premise but criticized for underdeveloped characters and lack of suspense. On , it holds a 5.5 out of 10 rating from over 1,800 users, reflecting similar sentiments on its execution despite strong performances by the leads. The film's attempt to address real-world dilemmas like in drone strikes and preemptive actions has been noted, though reviewers argued it sacrifices coherence for .

Synopsis

Plot summary

Elizabeth "Libby" Lamm, a former top advisor to Rachel Burke, secretly authorized a controversial preemptive against a Middle Eastern terrorist cell based on later revealed to be flawed, resulting in over 2,000 American civilian deaths from retaliatory actions. Four years later, Libby has left service and taken a position as a at Grant University in , where she lives in isolation, haunted by guilt over the operation's consequences and the ensuing government cover-up. As begins confiding details of the decision-making process and its moral trade-offs to journalist Ben Argo, her disclosures attract threats from associates connected to , now the U.S. President, who seek to prevent exposure of the intelligence failures and policy rationales that justified the strike as an "acceptable loss" in the war on terror. The unfolds through flashbacks interweaving Libby's current peril with past high-stakes deliberations, highlighting tensions between imperatives and ethical accountability.

Cast and characters

Principal performers

stars as Elizabeth "Libby" Lamm, a former advisor haunted by her role in authorizing a preemptive strike that resulted in significant civilian casualties. Her performance centers on Libby's internal conflict and decision to classified information to atone for past actions. Jamie Lee Curtis portrays Rachel Burke, the vice president who advocates for the controversial military operation and later seeks to suppress any exposure of its ethical compromises. Curtis's depiction emphasizes Burke's pragmatic ruthlessness in matters. Ben Tavassoli plays Martin Sali, Libby's academic colleague who becomes entangled in her efforts to reveal the truth about the strike. His role involves supporting Libby's moral reckoning amid growing threats. Supporting performers include as Adrian, a operative monitoring Libby, and as Dr. Willa Sipe, contributing to the narrative's exploration of .

Character analyses

Elizabeth "Libby" Lamm, the film's protagonist played by , serves as a advisor who endorses a controversial preemptive intended to neutralize terrorist threats but resulting in extensive deaths. Four years later, she relocates to a university to teach contemporary warfare, embodying a figure burdened by moral regret and isolation from her past decisions. Libby's internal conflict drives the narrative, as she drafts a confessing the strike's true costs, highlighting her from complicit policymaker to whistleblower seeking redemption amid threats from former colleagues. Critics have noted her portrayal as emotionally restrained, reflecting a character defined by suppressed trauma rather than overt expressiveness, which underscores themes of personal in high-stakes roles. Rachel Burke, portrayed by Jamie Lee Curtis as the vice president who ascends to the presidency, exemplifies ruthless in strategy, aggressively advocating for the same strike Libby later regrets. Burke's character prioritizes decisive action to eliminate perceived threats, framing mass casualties as a necessary "acceptable loss" to achieve long-term , even as it involves deception about the operation's outcomes. Her interactions reveal a steely commitment to power retention, including efforts to silence dissent, positioning her as an who rationalizes ethical shortcuts through appeals to national and survival imperatives. Reviews describe Curtis's as commanding yet caricatured, amplifying Burke's embodiment of unyielding and aversion to . Adrian, played by Jeff Hephner as Burke's chief of staff, functions as an enforcer of the administration's hardline policies, pressuring Libby during the strike's planning and later pursuing her to suppress revelations. His role illustrates bureaucratic loyalty and operational zeal, facilitating the cover-up while lacking the introspective depth of Libby or Burke's strategic vision. Supporting characters like Martin Sali (Ben Tavassoli), Libby's student and romantic interest, provide contrast through idealism and personal connection, humanizing her isolation without altering core power dynamics. Overall, the analyses reveal characters as archetypes of moral trade-offs in : Libby's versus Burke's resolve, critiquing how individual agency intersects with systemic imperatives in U.S. apparatus.

Production

Development and writing

Joe Chappelle wrote the original screenplay for An Acceptable Loss, which he also directed as his feature film debut in that dual role. The script originated from Chappelle's interest in exploring the moral ambiguities of decisions, particularly the concept of "acceptable losses" in operations, framed as a hypothetical where U.S. officials authorize civilian sacrifices to avert a larger catastrophe. This narrative structure draws on post-9/11 ethical debates, including real-world controversies over targeted strikes and intelligence interrogations, though Chappelle emphasized a fictional lens to heighten dramatic tension rather than direct adaptation of specific events. Development involved collaboration with producer Colleen Griffen, Chappelle's spouse, who helped secure financing and festival placements, including the film's world premiere at the on October 21, 2018. The writing process focused on a non-linear approach, interweaving present-day with flashbacks to the protagonist's service, to underscore causal chains of and in intelligence work. Chappelle, known primarily for television directing on series like The Wire and Homicide: Life on the Street, transitioned to this project to examine insiders' rationalizations for extreme measures, avoiding overt partisanship in favor of individual conscience dilemmas. No major rewrites or external script doctors are documented, indicating Chappelle retained primary creative control from conception through completion.

Filming and technical aspects

Principal photography for An Acceptable Loss took place over 30 days from June 19 to August 4, 2017, primarily in and around Chicago, Illinois. The production utilized the city's urban and lakeside environments to depict the protagonist's university setting and personal life, including scenes along the lakefront trail and on the L train, as well as locations in nearby Evanston. Director Joe Chappelle selected Chicago due to his familiarity with the area as an Illinois resident, tailoring the script to leverage accessible local sites rather than Washington, D.C., backdrops typical of political thrillers. Cinematographer Petra Korner handled the visual style, employing a grounded, realistic approach that emphasized tense interiors and Chicago's contrasting calm exteriors to underscore the film's themes of hidden threats. by Joe Rabig focused on building through deliberate pacing, with a runtime of that maintains a slow-burn tension despite narrative criticisms. Daniel B. Clancy constructed sets reflecting bureaucratic and academic spaces, enhancing the story's authenticity without relying on high-budget effects. The score by Valgeir Sigurðsson incorporated minimalist electronic elements to heighten paranoia and moral ambiguity.

Themes and real-world parallels

Counterterrorism and moral trade-offs

The film An Acceptable Loss examines counterterrorism through the lens of utilitarian decision-making, where officials authorize lethal operations accepting civilian casualties to neutralize imminent threats. Central to the plot is Libby Lamm's role in approving a drone strike on a suspected terrorist compound in Yemen, resulting in 97 deaths—including non-combatants—to eliminate a high-value target believed to be planning attacks on U.S. soil that could claim thousands of lives. This scenario posits that such collateral damage constitutes an "acceptable loss" if it averts greater harm, a calculus echoed in dialogues where characters justify the strike as necessary for national security despite the ethical weight of unintended fatalities. The narrative probes the moral trade-offs inherent in , highlighting tensions between efficacy and humanity: proponents argue that forgoing precision to ensure target elimination prevents escalation, while critics within the story contend that minimizing innocents preserves moral legitimacy and avoids breeding resentment. Lamm's , manifesting as and isolation after the operation, underscores the personal erosion from rationalizing deaths as probabilistic necessities, a theme drawn from post-9/11 policy debates where risk assessments prioritize threat prevention over zero-casualty ideals. Real-world parallels appear in U.S. drone campaigns under administrations from Bush to Obama, where strikes in regions like and killed an estimated 2,200-3,700 civilians alongside 2,500-4,000 militants between 2004 and 2018, based on Bureau of Investigative Journalism tallies, with officials deeming these ratios defensible against plots like the underwear bomber attempt. Critiques in the film extend to whether such trade-offs yield net security gains or perpetuate cycles of violence; Lamm's arc suggests over-reliance on preemptive force may alienate allies and radicalize survivors, mirroring analyses of how civilian deaths in strikes have fueled without decisively dismantling networks like . Empirical data from studies indicate mixed outcomes: while targeted killings disrupted leadership (e.g., the 2011 bin Laden raid's ripple effects), collateral incidents correlated with recruitment spikes in affected areas, challenging the "acceptable loss" paradigm's long-term viability. The story avoids absolutism, presenting trade-offs as inescapable in existential conflicts but demanding rigorous post-action scrutiny to mitigate overreach.

Government surveillance and interrogation techniques

In An Acceptable Loss, the U.S. government deploys extensive resources to track Lamm after she begins investigating suspicions of a high-level , highlighting the tension between imperatives and individual . Agents monitor her movements and communications, forcing her to rely on countermeasures like low-tech evasion tactics derived from her prior experience in operations. This narrative element reflects the film's broader examination of how unchecked can ensnare even former insiders perceived as threats. The film's portrayal draws parallels to post-9/11 expansions in U.S. surveillance authority. Enacted on October 26, 2001, the USA PATRIOT Act authorized the (NSA) to collect bulk telephony metadata from U.S. citizens under Section 215, enabling queries on call records without individualized warrants. This program, operational from 2006 until curtailed by the on June 2, 2015, amassed data on hundreds of millions of phone calls annually, justified as essential for connecting dots in terrorism investigations but criticized for yielding few actionable leads relative to its scale. Edward Snowden's disclosures on June 5, 2013, exposed the program's scope, including upstream collection from providers, prompting debates over Fourth Amendment violations despite FISA court approvals. On interrogation techniques, the movie implicitly critiques moral trade-offs in extracting intelligence under duress, echoing real-world CIA practices authorized via memos on August 1, 2002. These "" (EITs), applied at black sites from 2002 to 2009, encompassed —simulating drowning via cloth and water poured over a detainee's face—alongside prolonged stress positions, exceeding 180 hours, and sensory manipulation, used on at least 119 detainees, including three subjected to 183 times combined. The 2014 Senate Select Committee on Intelligence report, based on over six million pages of documents and led by a Democratic majority, concluded EITs produced no unique intelligence preventing attacks and were less effective than standard methods, while the CIA overstated their value to . Republicans on the committee contested this, citing specific instances like intelligence from under EITs contributing to the 2011 bin Laden raid, though causal efficacy remains empirically disputed due to reliance on self-reported agency assessments rather than controlled comparisons. Independent analyses, such as a 2016 study by the Justice Initiative, corroborated inefficacy and documented physical harms including deaths in custody, underscoring causal realism in evaluating coercive methods' net utility amid ethical costs.

Release and distribution

Premiere and theatrical run

An Acceptable Loss premiered at the on October 13, 2018. It screened subsequently at the Virginia Film Festival on November 3, 2018. IFC Films acquired U.S. distribution rights in October 2018 and handled the limited theatrical release, which began on , 2019, in select theaters alongside a simultaneous digital and on-demand debut. The film opened in one theater, earning $3,447 in its debut weekend. It expanded to a maximum of 25 theaters but concluded its run by February 7, 2019, with a domestic total of $30,214. The limited engagement reflected the film's modest marketing push and niche appeal as a .

Home media and streaming

The film was released on DVD and Blu-ray in the United States on July 2, 2019, distributed by Shout! Factory. As of October 2025, An Acceptable Loss is available for streaming on subscription services including Paramount+, , and , as well as ad-supported platforms such as . It can also be rented or purchased digitally via Apple TV and . Availability may vary by region and is subject to licensing changes.

Reception and analysis

Box office performance

An Acceptable Loss was released in the United States on January 18, 2019, by IFC Films in a limited theatrical run. The film earned $3,447 during its opening weekend across a small number of theaters. Over its entire domestic run, it grossed $32,427, representing 100% of its worldwide total with no reported international earnings. The picture's box office trajectory showed modest week-to-week gains initially, such as a 54.1% increase to $188 on , 2019, but overall performance remained negligible, reflecting its limited distribution and niche appeal as an independent . Its legs ratio stood at 2.39, indicating the opening weekend accounted for about 10.6% of the total domestic gross. This underwhelming financial outcome aligned with the film's constrained marketing and release strategy typical for low-profile specialty releases.

Critical evaluations

Critics largely panned An Acceptable Loss, with aggregate scores reflecting widespread disappointment in its execution despite its ambitious themes. On , the film holds a 12% approval rating based on 33 reviews, indicating broad disapproval among professional critics. assigns it a score of 40 out of 100 from 11 critics, categorizing it as mixed or average but leaning toward negative. Reviewers frequently criticized the screenplay for lacking depth and originality, resulting in a thriller that fails to sustain tension or explore its moral dilemmas convincingly. Tomris Laffly of RogerEbert.com awarded it 1.5 out of 4 stars, noting "startlingly little depth" and describing it as gripping only when compared to unstructured time, with characters reduced to archetypes rather than fully realized figures. Ben Kenigsberg in The New York Times observed that while the film signals serious intent on war and ethics, its "every frame" aspiration to gravity underscores execution flaws, including contrived plotting and underdeveloped stakes. Bill Goodykoontz of azcentral.com gave it 1.5 out of 5 stars, arguing that even strong performances could not salvage a narrative that "takes more than it gives," hampered by predictable twists and implausible motivations. Some evaluations acknowledged strengths in the performances and thematic intent, though these were insufficient to elevate the overall quality. praised it as a "B-movie with some acting, particularly by ," highlighting her portrayal of the conflicted analyst as a standout amid formulaic elements. Derek Smith of rated it 2 out of 4 stars (equivalent to 50/100 on ), calling it a "B movie with a morally urgent message" on government overreach, but faulted director for prioritizing preachiness over suspenseful craftsmanship. These concessions, however, were outliers; outlets like dismissed it outright as a "," citing tonal inconsistencies and failure to deliver on its premise of ethical trade-offs in . The film's critical shortcomings were often attributed to its low-budget constraints and uneven pacing, positioning it as a missed opportunity to engage substantively with post-9/11 surveillance debates. BlackPressUSA's review emphasized its lack of artistic or commercial draw, deeming it unworthy of theatrical investment due to superficial handling of complex issues like acceptable civilian casualties. Collectively, these assessments underscore a consensus that An Acceptable Loss prioritizes topical over rigorous storytelling, rendering its cautionary unpersuasive to discerning audiences.

Audience responses and thematic debates

Audience members have expressed divided opinions on An Acceptable Loss, with an average IMDb user rating of 5.5 out of 10 based on 1,828 votes as of 2023, reflecting appreciation for its suspenseful elements and performances alongside critiques of pacing and implausibility. Some viewers praised the film's and character development, particularly Tika Sumpter's portrayal of Libby Lamm's internal conflict, describing it as "intriguing and suspenseful" with strong acting from . Others found it entertaining despite flaws, noting its relevance to real-world and plausibility in exploring government intrigue, though they acknowledged uneven filming and scripting. Thematic debates sparked by the film center on the utilitarian calculus of decisions, particularly whether preemptive strikes causing collateral civilian deaths—depicted as 116,000 in the story to avert a nuclear attack on millions—constitute morally defensible "acceptable losses." Reviewers and audiences have questioned the ethical trade-offs, drawing parallels to post-9/11 policies like drone strikes and the War's justifications, where intelligence failures or exaggerated threats led to high civilian tolls without guaranteed prevention of greater harm. Critics of the film's premise argue it oversimplifies causal chains in , ignoring empirical data on blowback from civilian casualties that often radicalizes populations and perpetuates cycles of violence, as evidenced by studies on U.S. interventions in the . Discussions also highlight tensions between individual conscience and institutional loyalty, with Libby's arc prompting debates on versus operational in preventing catastrophic threats. Some audience responses endorse the film's cautionary stance against unchecked executive power, viewing Rachel Bourlier's character as emblematic of that prioritizes ends over means, while others contend it underplays the necessity of decisive action against verifiable intelligence, citing historical precedents like the foiled 2001 plots. These exchanges underscore broader skepticism toward government narratives on security threats, informed by declassified reports revealing manipulated intelligence in past operations.

References

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  47. https://www.rottentomatoes.com/m/an_acceptable_loss/reviews?type=user
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