The aim of the article is to analyze the evolution of expressive facilities in US war films, the images and cultural meanings which they form.The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical base of the study included a series of US war films, a detailed analysis of expressive facilities and content analysis were carried out.The results. The war film has a huge potential for expressive facilities to create artistically powerful portraits that reflect the characters of the epoch, landscapes and interiors, which unfold battle scenes and life of citizens. Many researchers note the fashion for aggressive and unbiased presentation of audiovisual information (like films “Fury” and “Americаn sniper” 2014). War films of XXI century are made taking into account modern technologies in color correction: in complementary or similar color schemes. Landscape and interior in the films of 2014 serve as a background; panoramas and long-range plans give way to close-ups and medium-sized, battle scenes are given general plans instead of long-range. Authors of war films of medium and end of XX century (“Apocalypse Now” and “The Last of the Mohicans”) created powerful color and light conceptions of the films, which contains with dramatic history, for example using chiaroscuro effect.On the one hand, there is a kind of simplification and impoverishment of the visual solutions of war films, the convergence of feature films with TV series and documentaries about the war, made in black and white. On the other hand, we note the commercial success in the rental of all considered films, so all the films met the needs of the audience in 1979, 1992 and 2014.The expressive facilities, mentioned in the article, created powerful images of the desperate but “wise” murderer of Kurtz; the “cruel and steadfast” Magua Indian; the cold and “fair” violator and murderer Don Collier; and the “good-natured” joker, record-breaking sniper Chris Kyle. Noteworthy that the role of the victim and the killer are replaced, the killers suffer from the “cruelty” of their victims, who dared to resist. In this case, the expressive facilities help to justifying the armed presence of a US soldier thousands of kilometers from his country. This creates powerful patriotic images of the main characters, who allegedly protect the states from the military aggression of an imaginary enemy.Novelty. The article reveals the dynamics of the use of expressive facilities in a war film from the middle of the XX century to the first quarter of the XXI, the cultural and social meanings generated by them.The practical significance. The main theses and results of research may be useful for practicing directors and cameramen in the formation of a director’s concept of a war film, preparing a script and choosing visual solutions. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for teaching disciplines in film schools in Ukraine and abroad.