Brave's worst cinematic sin, though, is its failure to convey the logistics of the action. A character talks about retiring, so the next time out.

The storytelling also leans toward heavy-handed and clichéd: A lingering look at a character getting into a truck means. 'That doesn't mean you can see everything coming,' comes another's wise response. sharing your man with the fire' And 'I went in with my eyes wide open,' bravely asserts one long-suffering wife. The dialogue is similarly uneven, reeling from the guys' amusing banter to heavy-handed clichés that can tip toward the laughable: 'It's not easy. But the domestic drama either doesn't fly - as with Marsh and his wife - or does, as with McDonough's fumblings toward fatherhood. The relationships built within the crew, particularly between McDonough and initial nemesis Chris 'Mac' MacKenzie (a likeable Kitsch), provide some human ballast. On-screen, his greatest sin is that (predictably) he cares too damn much. More punches are obviously pulled with team supervisor Marsh (played by the at-home-in-his-own-skin Brolin), whom, we're told, has made enemies with his attitude.

Luckily, Teller is a skilled actor who more or less sells it. McDonough has a pretty easy time of it, going from unbelievably stupid crackhead to dedicated family man and reliable wildlands firefighter with surprisingly little on-screen struggle. But the film clearly treats its real-life subjects with kid gloves.

Only the Brave is at its strongest in the easy camaraderie of the elite firefighters, with their goofing around and male bonding. There's a lot to like here: the dialogue, the relationships, the technical expertise but there's also a lot to not like here: the dialogue, the relationships, the technical expertise.

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