The upcoming Call of Duty film, slated for a June 2028 release and set within the Modern Warfare continuity, is being helmed by director Peter Berg. Berg, who is co-writing the screenplay with Yellowstone creator Taylor Sheridan, has indicated that the movie will avoid "cartoon characters or comic books," instead promising a "nuanced" exploration of "the cost of war."
Berg shared these sentiments during a press junket for his current film, The Mosquito Bowl. He elaborated on the narrative direction for the Call of Duty project, stating that the characters within the Modern Warfare universe, such as Captain Price, Soap, Ghost, and Alex, are "complicated humans" with "real soul." He emphasized that while violence and combat are present, the core of the story will delve into the "cost of having to be a warrior" and the "burden that these guys carry." Berg suggested the film would not be "quite as graphically violent as Mosquito Bowl" but would possess a "very strong soul, and consequence of war."
This messaging echoes a recurring theme in the marketing and development of Call of Duty games. The franchise has historically balanced portrayals of over-the-top military fantasy with aspirations of depicting the gritty realities of warfare. For instance, the 2019 Modern Warfare title emphasized realistic scenarios and aimed to create a "morally gray" experience for players, with developers expressing a desire for players to feel conflicted by their in-game actions. Similar themes of realism and the human cost of conflict have been prominent in promotional materials for titles including World War II, Vanguard, and other Modern Warfare installments, as well as for games like Battlefield and Six Days in Fallujah.
However, the author notes a persistent skepticism regarding the franchise's ability to deliver truly nuanced war narratives. Past criticisms have pointed to rampant jingoism, racial insensitivity towards Muslim and Arab characters, and the series' potential role in promoting the military-industrial complex and serving as a recruitment tool. Despite these concerns, the franchise's enduring popularity, largely driven by its engaging multiplayer component, suggests that the core appeal for many players remains the fun of virtual combat.
Berg's comments suggest an intention to present a more serious, consequence-driven narrative. Yet, the author posits that such efforts may ultimately serve Activision and now Xbox in reaffirming Call of Duty's perceived societal importance, rather than fundamentally addressing the complex issues surrounding war and military conflict often depicted in the franchise. The repeated focus on the "cost of war" for soldiers, without a critical examination of the reasons behind military engagement, is highlighted as a point of concern.