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Being a huge WW2 buff, I was waiting to see this for months after seeing the trailers. Have read a few reviews of it and gone cold. Apparently could've been so much better and memorable. Nolan chose a non linear direction with the story. May just wait till its on Netflix though the aerial footage is great I hear
I'll be seeing this at the weekend. I'm a sucker for a good war film (even the occasional average one), and the story of the Dunkirk evacuation is one that deserves to be told. It looks good. Just hoping Harry Styles doesn't eff it up. Ed Sheeran in GOT was more than enough. This is why we need an end to austerity, stop all these popstars from being forced to take second jobs...
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It was good fun. Same old Nolan, for better and worse, serving up an hour fourty-five of no-frills war porn. Wasn't non-stop tension, for me -- and I think it was supposed to be -- but the last third really hits a home run.
As is standard for Nolan, technically brilliant and emotionally removed. The real standout in this one is Hans Zimmer's score, which is unique and darn good even for him.
Harry Styles was fine! But I didn't know who he was until just now...
On the emotion thing, H, I fail to understand this.
If you look at some of Nolan's latest for emotion:
(SPOILERS)
Undeniably emotional regarding George in Dunkirk?
"No. No, no, no... I was disappointed that you tried." Inception
Interstellar is one large emotional drain; from the deaths of Doyle and Romilly, to Cooper returing to see years of messages from his kids, to the very point of the movie (love conquers all), I am slightly bemused when Nolan is continually accused of being an emotion-free zone.
Is it just one of those stereotypes that is repeated, with very little substance? I dunno, maybe I'm overly emotional, but Nolan imbues his movies with plentiful moments to wipe your eyes.
Zimmer's score is - as ever - wonderful. Their partnership is becoming one of the greatest in the history of film. Big commercial hits can be just as powerful, just as emotionally resonant and just as cerebral as arthouse pieces. I don't think Memento is any more powerful than his large commercial stuff now.
I can only respond to that with subjectivity -- if emotionally removed Nolan is the stereotype, it fits my experience. I really love to watch Nolan's movies because they are always a singular and well-realized vision, but they never engage me that much emotionally. The big swing-for-the-fences emotional moments in his movies tend to fall flat for me, including in Dunkirk. I'm not denying that they're there, just saying that he seems too removed to really sell them.
Interstellar, for whatever reason, was the exception. That movie had incredible emotional power. It is my favourite of his.
I watched this yesterday and loved it. Intense and realistic, it never lets up and doesn't outstay its welcome. Very clever use of tension building music.
Oh and Tom Hardy proves that he can actually pull off a very decent performance while wearing a mask for most of the film!
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I can only respond to that with subjectivity -- if emotionally removed Nolan is the stereotype, it fits my experience. I really love to watch Nolan's movies because they are always a singular and well-realized vision, but they never engage me that much emotionally. The big swing-for-the-fences emotional moments in his movies tend to fall flat for me, including in Dunkirk. I'm not denying that they're there, just saying that he seems too removed to really sell them.
Interstellar, for whatever reason, was the exception. That movie had incredible emotional power. It is my favourite of his.
Fair enough. The beuaty of film is how we are all calibrated in different ways, and our antennas pick up different messages and emotions.
We are in complete agreement about his technical brilliance, and also with Interstellar. For me, it's Top 50 ever made territory; it's that good.
Well worth the wait. Visually and tonally it pulled me in from the outset. Moments of brooding stillness offset by sudden bursts of chaos - all with Hans Zimmer’s soundtrack adding to the tension. With that said I’m surprised it wasn’t as affecting as I thought it would be. There were moments, but it’s all so very understated; feels almost docu-like n places and that coupled with the multiple plot-lines and sparse dialogue keeps the characters at something of a distance. More Thin Red Line than Saving Private Ryan but without the formers philosophical heart.
Aerial sequences were beautifully shot, one of the highlights, I only wish there’d been more. Got to be the easiest money Tom Hardy’s ever made, leaving his eyebrows to do the heavy lifting. Credit to him, he did pull it off - next to Mark Rylance's small boat captain. Is there a category for best supporting facial expressions? That end sequence made it all worthwhile. It didn’t even occur to me until afterwards that we never see the enemy - outside of the dive bombers and a few shadowy silhouettes at the very end.
I’m hoping Ridley Scott takes notice for his proposed Battle of Britain project.
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All the Limes out there are well aware of the significance of the event at Dunkirk. Us Yanks don't start learning about WWII until The "Lend / Lease" act which is when the war started to effect the US.
This is is an excellent article - http://www.griffonmerlin.com/2017/07/19/dunkirk-does-historical-accuracy-matter/ a good assessment of the Dunkirk film that notes some deviations from the historical record (empty sea, not enough smoke, not enough destroyers, implication that it was the little boats that saved the day, and the Spitfires operating at too low an altitude).
Regardless, a thoroughly captivating film. I highly recommend it.