Semper Fi effectively demonstrates the camaraderie amongst the male characters. The problem, it seems, is the character development and connective narrative tissue. For a feature that’s rooted in unbreakable male bonds, Semper Fi hits all the usual story beats — the good ol’ boy bar scene, the dramatic bar scene, the group outcast meltdown scene. But what specifically motivates these individuals beyond the obvious? When viewed as a character study, Semper Fi covers the basics during its first half and underlines the major issues that each man must grapple with. But it’s not until past the halfway mark that Semper Fi shows its personality, evidenced by a memorable car sequence featuring The Darkness’ “I Believe in a Thing Called Love,” followed by a time-specific Lindsay Lohan-themed zinger. In many hard-hitting features, these easy-going moments directly precede the inciting incident. In Semper Fi, however, they essentially set up the final act climax, one that has plenty of action and drama but lacks the necessary groundwork to substantiate the final pay-off. 

The collective performances in Semper Fi hit the mark throughout, and there’s an undeniable amount of star power, with Courtney leading the way. During vulnerable character moments, he impressively sells Cal’s inner turmoil and complements his co-stars’ blend of character bravado, confusion and concern about the future. Semper Fi’s second half includes some effective quiet moments, especially one in which Meester’s Clara uses tweezers to help a friend in need. It’s not that Rubin’s film doesn’t have a wonderful story, a powerful message or big moments (there’s one violent scene that’s slightly reminiscent of American History X), it’s that the best scenes seem out of place in the story structure, resulting in a rather sudden jump towards the end.