I took my oldest son to see Warhorse last week. Really enjoyed it. And here's why.

Warhorse might be one of the best anti-war movies I've ever seen. It's really subversive.

No doubt there have been a host of films that have more graphically portrayed the brutality and nihilism of war. But Warhorse does something really different in exposing the Principalities and Powers.

If you've not seen the film a bit of overview with no spoilers. Warhorse is a World War I film. We follow a horse named Joey and his first owner, a teenager when we first meet him, Albert. Albert and Joey form a spiritual bond and we recognize in Joey an indomitable spirit. When war breaks out Joey's family, because they are poor, sell Joey to the war effort. Joey becomes a warhorse. From there we follow Joey and the owners who care for him during the war. These owners are British, German and French. Though our affections are always with Albert, Joey's original owner, Joey finds good and compassionate people on both sides of the war.

That is, I think, the particular anti-war genius of the movie. Most war movies have to pick a side. For example, compare Warhorse with Saving Private Ryan, another of Spielberg's war movies. No doubt Saving Private Ryan portrays the horrors of war more graphically than Warhorse (though Warhorse is pretty grim). But one criticism of Saving Private Ryan is that it chooses a side. The Germans are anonymous ciphers. Humanity and heroism is on the American side.

By contrast, since the star of Warhorse is the horse the film isn't choosing sides as strongly. Thus, we follow the horse back and forth across the battle lines and this blurs the distinction between "the good guys" and "the bad guys." This is sharply illustrated in a scene late in the movie when a German and a British soldier meet in the middle of "no man's land" between the British and German trenches to attend to Joey.

It's this blurring of the distinction between Us and Them that I find really powerful in Warhorse. The "good guys" are those who show humanity and compassion on both sides of the lines.

But there is more. One of the visual metaphors in the movie is a regimental pennant that Albert attaches to Joey when Joey goes off to war. As Joey exchanges hands during the war we see this pennant exchange hands. And here's the significance of that.

Early in the movie we note that Albert's father is an alcoholic. Later we learn why. He was traumatized by his service in the Second Boer War. He drinks to forget the horrors of war. The regimental pennant Albert attaches to Joey was his father's from the Boer war.

And as we follow the pennant of Albert's war-damaged father through the film, going from solider to solider (and to non-combatants), we start to see the trauma of war spread. British solider, German solider and even French civilian. None are spared. War damages them all.

In all this we begin to see that Joey isn't the only warhorse in the film. Joey is a symbol of something much darker. The first warhorse in the film is actually Albert's father. And Albert soon follows.

Everyone, German and British alike, is found to be a "warhorse." And we leave the film thinking that the real enemy isn't the man in the other trench.

We're all just warhorses, we come to realize. The real enemy is war itself.