OVERLORD (2018) – World War II Actioner/Horror Movie Generally Entertaining

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Jovan Adepo and Wyatt Russell in OVERLORD (2018).

A horror movie set during World War II, hours before the Allied invasion of Normandy.

Sound like a pretty good combination to me!

And OVERLORD (2018) is just that: an action/horror hybrid that isn’t half bad.

In the battle of Normandy, code name Overlord, it’s the mission of a select group of allied soldiers to land behind enemy lines and destroy a Nazi radio tower to give the allied planes protection as they provide cover for the invading ground forces. The battle zone is insanely chaotic, and the plane carrying these soldiers is shot out of the sky, with only a few soldiers successfully making it out of the plane via parachute. Fewer still survive once they hit the ground in Nazi territory.

Only a handful of soldiers remain. OVERLORD is their story. Ranking officer Corporal Ford (Wyatt Russell) leads this group to the radio tower which is located on top of a church. Among these soldiers is Private Boyce (Jovan Adepo), a black soldier who’s been called out for not being much of a soldier, mostly likely because of the color of his skin.

On the ground, they meet a young French woman Chloe (Mathilde Ollivier), and since Boyce is the only soldier there who speaks French, suddenly he’s a bit more valuable. Chloe provides shelter for the soldiers at her aunt’s farmhouse, which she shares with her sick aunt and kid brother. While Ford and company prepare for their mission, they have to lay low from the marauding Nazis, led by a particularly nasty officer named Wafner (Pilou Asbaek).

While at the farmhouse, the soldiers hear rumors of strange scientific experiments being conducted by the Nazis underneath the church, experiments that are killing many of the townspeople.  While fleeing Nazi soldiers, Boyce accidentally finds his way inside the bizarre underground lab, and what he sees there horrifies him.

He reports back to Ford, who tells Boyce and his fellow soldiers that the stuff happening inside the lab is not part of their mission, but when events bring the horrors from the lab onto their doorstep, they suddenly find themselves with no choice but to confront the monstrosities head on.

The best part of OVERLORD is its combination of World War II adventure and horror tale is a good one and for the most part works. The World War II story is exciting on its own, which is a good thing because the horror elements don’t really come into play until the movie’s third act.

And that’s one thing I didn’t like about OVERLORD. It takes too long to get to its best part, the stuff with the Nazi experiments. As such, it really isn’t much of a horror movie. In fact, even when it’s revealed just what those experiments are, and things get a bit gruesome, the subject matter really isn’t all that horrific. OVERLORD plays more like a violent action science fiction adventure than a horror movie.

That being said, I had a lot of fun watching OVERLORD. I just wished its genre elements had been darker.

I fully enjoyed the cast.  Jovan Adepo is excellent as Boyce, the character audiences will relate to the most.  He’s both the voice of reason and caution, and his decisions throughout the film are spot on and in tune with what audiences expect from a movie hero. One problem here, however, is with historical accuracy.  While the notion of having a black character here as the lead is a good one and one I really enjoyed, the U.S. military was still racially segregated during World War II. Oops!

Wyatt Russell is also very good as Ford. Now, Russell is the son of Kurt Russell and Goldie Hawn, and there are times when his mannerisms and dialogue delivery really resemble his father, which is a good thing. Russell makes for a likeable action hero.

Likewise, Mathilde Ollivier is also thoroughly enjoyable as Chloe, the fiery French woman who assists the allied soldiers. She’s smart, tough, and terribly sexy.

And Pilou Asbaek makes for a sufficiently nasty villain as Nazi officer Wafner. Asbaek has starred on GAME OF THRONES (2016-17) and in the movies GHOST IN THE SHELL (2017) and THE GREAT WALL (2016), among others, but this is my favorite role I’ve seen him play so far. He was fun to hate.

OVERLORD was produced by J.J. Abrams, and early rumors were that this film was going to be part of the CLOVERFIELD universe. It’s not, although at times it certainly felt like it. The only thing missing was any reference to the word “cloverfield.”

OVERLORD was directed by Julius Avery with mixed results.  The World War II stuff is exciting and nicely paced, though nothing audiences haven’t seen before. The horror elements which finally show up in the film’s third act, are violent and energetic, but hardly scary.  This one is rated R for language and bloody violence and science fiction style mutilations, and it plays like OPERATION: FINALE (2018) meets A CURE FOR WELLNESS (2016).

The best scenes are the World War II fight scenes. While the blood and gore increase towards the film’s finale, the suspense doesn’t.  I will say the special make-up effects were very good.

Billy Ray and Mark L. Smith wrote the adequate screenplay.  It’s filled with serviceable dialogue and situations, but nothing that pushes the envelope all that much. In all honesty, I expected to be more horrified by the film’s revelations, but that wasn’t the case. The horrors revealed here do not rise above the comic book level.

At least the tone remains serious, and  never deviates into campiness, and I liked this. No surprise here, really, since Ray wrote the screenplay for the Tom Hanks film CAPTAIN PHILLIPS (2013), while Smith wrote the screenplay to THE REVENANT (2015) the film in which Leonardo DiCaprio won the Academy Award for Best Actor, two very serious movies.

OVERLORD, incidentally, refers to the Normandy invasion code name, and not the popular Japanese novel series and anime.

I liked OVERLORD well enough, even though it didn’t fully deliver with its horror elements. The World War II scenes provide plenty of adventure and excitement, while the whispers of bizarre Nazi experiments generate interest throughout. It all leads to a bloody conclusion that is more action-oriented than frightening.

The end result is a movie that generally entertains even as it falls short in the horror department.

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OPERATION FINALE (2018) – Tale of Nazi Capture Relevant Today

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Oscar Isaac and Ben Kingsley in OPERATION FINALE (2018)

There are moments in OPERATION FINALE (2018), the new historical drama about the capture and extraction of Nazi Adolph Eichmann from Argentina in 1960 by a group of Israeli agents, that resonate more powerfully today because they call to mind current events.

Watching a raucous Nazis meeting you can’t help but recall images of the hate-filled march in Charlottesville or the frenzied crowds at a Trump rally.  The images are eerily similar.

But the action in OPERATION FINALE is all historical.

When we first meet Israeli Peter Malkin (Oscar Isaac) he’s leading a failed attempt at capturing a Nazi target.  Shortly after they remove the man from his home, ripping him away from his wife and kids, Malkin realizes they have the wrong man, but before he can do anything about it, his associates shoot the man dead. When Malkin tells them they grabbed the wrong Nazi, his partners shrug and ask, does it matter? He was still a Nazi.

The action jumps ahead a few years to 1960, where in Buenos Aires, Argentina, a young German girl Sylvia Hermann (Haley Lu Richardson) brings home her new boyfriend Klaus Eichmann (Joe Alwyn) to meet her blind father Lothar (Peter Strauss). When Lothar hears the boy’s name, he sends word to the Israeli government that he believes he has met the son of Adolph Eichmann, the infamous Nazi known as the mastermind of the “Final Solution,” the Nazi plan which led to the mass murder of millions of Jews.

Israeli agent Isser Harel (Lior Raz) sends a team which includes Malkin to Buenos Aires, and shortly thereafter they confirm the identity of Eichmann (Ben Kingsley).  They then plan to capture him and extract him from the country so he can stand trial in Israel for his crimes, which will be no easy task, since Eichmann is surrounded by a vigilant group of Nazis looking to rise to power once more.

OPERATION FINALE really isn’t receiving strong reviews, as I keep hearing it described as slow and unimaginative, but it really deserves stronger praise than that.  I will agree that it is subtle in its storytelling, and it’s rated PG-13 so the horrific violence from the Holocaust will not be on full display here, but there are enough potent images to make it work just fine.

The film is anchored by two very strong performances by Oscar Isaac and Ben Kingsley. Both actors drive the story forward with their convincing interpretations of the two leads.

I like Isaac a lot, and he seems to get better in every movie I see him in. While he’s probably most known today for his recurring role as pilot Poe Dameron in the new STAR WARS movies, it’s not in that role that he’s really been allowed to strut his stuff.  He’s been excellent in films like ANNIHILATION (2018) and EX MACHINA (2014), and way back when he made an impression in the stylish action fantasy SUCKER PUNCH (2011).

He’s excellent here as Israeli agent Peter Malkin.  He plays Malkin as a man not quite sure of himself at first, and his confidence grows as he’s allowed to establish a relationship with Eichmann while they’re held up in a safe house awaiting the opportunity to fly out of Buenos Aires. The Israelis need Eichmann to sign a document expressing his willingness to leave the country, and when their hardball tactics continually fail, Malkin believes he can get him to sign by appealing to his ego.

The two men partake in a psychological cat and mouse game which heats up in one of the movie’s best scenes when Eichmann attempts to get under Malkin’s skin by telling him the story of how he shot a woman and her baby, knowing that Malkin’s sister and baby were lost in the Holocaust. He asks Malkin if he thinks it was his sister and her baby he shot , and if so, wouldn’t that have been a good thing, for them to have been killed so quickly as opposed to the horrifying ways Eichmann saw others killed?

Ben Kingsley is very, very good as Adolph Eichmann, a man who refuses to stand trial in Israel because he knows there will only be one result, his death, and he believes that in order to receive a fair trial he should be tried in Germany. He also refuses to be the scapegoat for the sins of his former government, and he makes the argument that he was only following orders, just as Malkin is doing now.

At one point Eichmann tells Malkin that he actually tried to help many Jews escape, as he didn’t agree with his fellow Nazis’ solution for getting rid of the Jews. He believed they should have been relocated, and he in fact did relocate many of them, to which Malkin scoffs that he sent them to malaria-filled Madagascar. Eichmann replies that no other country would take the Jews.

It’s a subtle performance by Kingsley, yet it’s no less successful. He makes Eichmann a formidable  force to be reckoned with, and there is something icy cold and sinister underneath nearly every civil line he utters.

The rest of the cast is equally as solid. Lior Raz as Israeli agent Isser Harel, and Nick Kroll as fellow agent Rafi Eitan, and Michael Aronov as agent Zvi Aharoni are all convincing, as are the rest of the actors who round out the team, including Melanie Laurent as the sole woman of the group, Hanna Elian, tasked with drugging Eichmann during their escape.

I also enjoyed Haley Lu Richardson as Sylvia Hermann, the young Jewish woman whose relationship with Klaus Eichmann led to the capture of his father. Richardson is a promising young actress who has yet to land her break-out role. She’s been memorable in supporting performances in films like SPLIT (2016) and THE EDGE OF SEVENTEEN (2016). Her role here in OPERATION FINALE is again small, and she again makes an impression.

It was also fun to see Peter Strauss back on the big screen as Sylvia’s blind father Lothar. I think the last time I saw Strauss in a movie was the Johnny Depp thriller, NICK OF TIME (1995). Of course, Strauss mostly did TV work, bursting onto the scene eons ago in the highly popular mini series RICH MAN, POOR MAN (1976).

Director Chris Weitz’s straightforward unassuming style allows the story to unfold gradually and build towards a rather riveting conclusion.

The film does a good job of getting under your skin without blood and gore. For instance, the scene where the young mother raises her child to Eichmann is unnerving to watch even without the actual shootings occurring on-camera.

Weitz also directed THE TWILIGHT SAGA: NEW MOON (2009), the second TWILIGHT movie. Needless to say, OPERATION FINALE is a much better movie than NEW MOON and should go a long way towards helping moviegoers forget that Weitz made that vampire clinker.

The scenes between Malkin and Eichmann are the best scenes in the movie, and they’re also the best written, thanks to a credible screenplay by Matthew Orton.

And while the screenplay doesn’t make Eichmann a sympathetic character, it does make him a three-dimensional one. We see him caring for his family, we catch glimpses of the cold psychological power he possesses, we experience his raw fear when first captured, and we are allowed to enter his calculating mind while he’s a prisoner.

Critics are not being overly kind to OPERATION FINALE, and that’s too bad, because it’s a solid well-made movie.

It works as both a historical piece, in that it’s a compelling tale of the capture of Nazi Adolph Eichmann, and as a cautionary tale for our times, reminding us of the importance of striking down fascism.

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DARKEST HOUR (2017) – Gary Oldman Brings Winston Churchill to Life

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Gary Oldman as Winston Churchill in DARKEST HOUR (2017)

It’s always darkest before the dawn.

And in England in May 1940, it sure was dark. The Nazis were poised to invade, and there seemed to be no viable solution other than surrender.

DARKEST HOUR (2017) chronicles Winston Churchill’s first few tumultuous days as England’s Prime Minister during this frightening time.

It’s the early days of World War II, and Hitler’s Nazi machine is stomping through Europe, and nations are falling like dominoes. The British leadership expresses zero confidence in Prime Minister Neville Chamberlain (Ronald Pickup) whose peace policies allowed Hitler to get this far undeterred. When Chamberlain is forced to resign, Winston Churchill (Gary Oldman) is selected as his successor.

It’s a controversial choice as Churchill is not well-liked and is viewed with skepticism. He’s known to speak his mind, drinks daily, smokes a cigar, and is marred by his own controversial decision during World War I at Gallipoli which led to the deaths of thousands of troops. But he’s chosen for political purposes, as he’s the only candidate the opposition party would accept, or as he himself surmises, perhaps it’s his enemies’ way of getting back at him, putting him in power just as the nation is about to fall.

Churchill is under tremendous pressure. He views fighting back against Hitler as the only solution, and refuses to negotiate, but this position leaves him alone politically. Both Neville Chamberlain and Viscount Halifax (Stephen Dillane), the man who many believe should be prime minister, view surrender and a negotiated peace as the only hope for their nation, and they have the support of not only their party but of King George VI (Ben Mendelsohn) who admits that he finds Churchill rather “scary.”

And with the entire British army trapped at Dunkirk, with no reasonable way to escape, it appears they are correct, and that Churchill has no other option than to surrender to Hitler.  But as we know, this is not what happened.  Churchill ordered a civilian fleet of small ships to mobilize and rescue the soldiers, something that was so outlandish it almost wasn’t done, but it was done, and nearly every British soldier was saved that day.

How Churchill withstood the massive political pressure to give in and how he somehow managed to get England to fight back is the incredible story told in DARKEST HOUR. And it’s one of those stories where if it wasn’t true, you probably wouldn’t believe it.

The main reason to see DARKEST HOUR is Gary Oldman’s phenomenal performance as Winston Churchill.  It’s as good as advertised.

Sure, the make-up department outdoes itself by transforming Oldman into the portly aged Churchill, but Oldman’s performance goes way beyond make-up. He captures not only Churchill’s eccentric personality and signature gait, but the unbelievable stress and pressure on the man, Oldman makes palpable.  He’s so effective that I found myself getting stressed out, just thinking about what Churchill was going through.

He so much wanted to fight, knowing that surrender would mean the nation would be at the mercy of a monster, Hitler, and yet, his position was seen by those in power as irresponsible. He was seen as a warmonger, someone who would get lots of people killed, when surrender would be a better option that would save lives.  And militarily his hands were tied.  When he tries to rally the French, he learns that they’ve already been beaten.  His own army, the entire army, is trapped without hope of escape at Dunkirk.

Oldman captures all of this emotion and completely brings Winston Churchill to life.

And of course, working behind make-up is nothing new for Oldman, who has made a living looking different in most of the movies he has appeared in over the years.

The rest of the film is a bit uneven. While it’s certainly interesting, it doesn’t reach out and grab you until its final emotional reel. Unlike Oldman, who’s locked in from the get-go, the rest of the film takes a while to get going.

For three-fourths of this movie, things are dark, dreary, and depressing, and it’s not until late in the film when the clouds of doom begin to lift.  There are several key scenes which effectively highlight the changing tide.  When King George realizes that he actually admires Churchill’s tenacity, and in a private meeting, when he whispers to Churchill that he has had a change of heart, that now “you have my support,” it’s one of the most satisfying rousing emotional moments in the movie.

The private conversation between Churchill and his wife Clemmie (Kristin Scott Thomas), where she tells him that it’s because of his flaws and his experience dealing with them that’s he ready and able to deal with this impossible situation now is equally as powerful, as is the moment when Churchill learns that his young secretary Elizabeth Layton’s (Lily James) brother has died at Dunkirk, and he marvels at the bravery in her face when she tells him.

And my favorite scene in the film is where Churchill decides to ride the subway and talk to the people, gauging their thoughts and feelings about what to do about the inevitable Nazi invasion. And of course they tell him in no uncertain terms that they want to fight.

It’s moments like these where the script by Anthony McCarten comes alive. Earlier though, the story is much more low-key as it details the politics of Churchill’s appointment as Prime Minister.  And that’s what DARKEST HOUR is mostly about, the politics of the time. The story of how Churchill would go on to lead England to victory is not told here.  This is the story of the days leading up to the time when Churchill would become that leader.   These political scenes never resonated as well with me as the more emotional moments later in the film.

This is the third film to come out in 2017 to deal with the battle of Dunkirk.  There was Christopher Nolan’s DUNKIRK, which happened to be my favorite film of 2017, and the comedy drama THEIR FINEST, which told the lighthearted story of the making of a propaganda film about Dunkirk to help encourage the United States to join the war effort.  Of these three films, DARKEST HOUR is probably the least emotionally satisfying.

Director Joe Wright captures the look of World War II England brilliantly. The cars, the costumes, the sets, all bring this moment of history to life.  In terms of an entire captivating package, however, as I’ve said, it takes a while to get going.

Oldman is helped by a solid cast.  I particularly enjoyed the two female performances here.  Kristin Scott Thomas is excellent as Churchill’s wife Clemmie.  It’s Clemmie who’s constantly pushing her husband along, encouraging him when he’s consumed with self-doubt, and while at times it’s difficult to imagine her in love with such a cantankerous character like Churchill, the love they have for each other comes through loud and clear.

I liked Lily James just as much as Churchill’s very young secretary, Elizabeth Layton.  She seems to latch onto Churchill as a father or even grandfather figure, and she too constantly encourages him to continue to lead.

Stephen Dillane is particularly convincing as Viscount Halifax, seen here as the biggest thorn in Churchill’s side.  He’s the man who most in England wanted to be the new prime minister, and he knows it and wields his power accordingly.  He’s also the biggest proponent of peace talks, and it’s interesting because his take here is one that I think most rational people would agree with, while most would indeed view Churchill as a loose cannon.  It’s easy for us today to sympathize with Churchill because we know how cruel and crazy Hitler was, but back in 1940 the world didn’t know this. Halifax is also on the receiving end of Churchill’s memorable line in the movie, “Would you stop interrupting me when I’m interrupting you!!!”

Likewise, Ronald Pickup makes for a weary and worn Neville Chamberlain.  And Ben Mendelsohn, who STAR WARS fans saw last year as the villainous Orson Krennic in ROGUE ONE: A STAR WARS STORY (2016), is superb as King George VI.  He’s one of the few characters to change during the movie, at first seeing Churchill as a poor excuse for a leader, but later viewing the Prime Minister in a new light, when his own feelings of anger towards Hitler surface, and he suddenly wants a leader who’s willing to fight for his nation.

DARKEST HOUR is exactly what its title says it is: the darkest hour for all of Europe. It was a moment in history when the face of Europe was about to change, when a dictator was on the verge of conquering it all, and when the odds against this happening seemed so slim that the entire United Kingdom stood ready to surrender it all.  And yet, that’s not what happened, due in large part to the leadership and decisions of one man, Winston Churchill.

DARKEST HOUR tells the story of how that man survived his darkest hour to emerge as that rallying leader.

And Gary Oldman, through a remarkable performance, brings this unlikely savior to life.

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DUNKIRK (2017) – Innovative Movie Brings Miraculous World War II Rescue to Life

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Forget everything you know about traditional storytelling.

DUNKIRK (2017), the new World War II movie by writer/director Christopher Nolan, changes the rules and then some.

As he has been known to do in the past, Christopher Nolan tells this story in a nonlinear fashion, and he does it with a minimum of dialogue and character development.  Yet, the film doesn’t suffer for it.  Nolan has called DUNKIRK his most experimental film, and I would have to agree.

In an interview, Nolan described the soldiers’ experiences at Dunkirk in three parts: those on the beach were there a week, the rescue on the water took a day, and the planes in the air had fuel for one hour.  To tell this story,  Nolan separates it into these three parts- the week on the beach, the day at sea, and the crucial hour in the air, but he does this in a nonlinear fashion, meaning all three events are shown happening concurrently and interspersed with each other.  Surprisingly, the result isn’t confusing. Instead, this bold use of time generates heightened tension and maximum suspense.

DUNKIRK tells the amazing story of the rescue of 338,000 British soldiers from the French port town of Dunkirk in events which transpired from May 26 – June 4, 1940.  The soldiers were surrounded by German forces and the only escape was by sea, which was covered by German planes.  In effect, there was no escape.

However, in what turned out to be a stroke of genius, instead of sending the navy, the British authorities sent out a call for civilian ships to go to Dunkirk, which they did and they miraculously rescued the soldiers.  The smaller civilian ships had the advantage of being able to navigate the shallow waters off the beaches of Dunkirk.  And while militarily speaking Dunkirk was a massive failure, one big surrender and escape mission, in terms of morale, it became a major turning point in the war.  Had the British soldiers been captured, Germany would have advanced, most likely on their way to a successful invasion of Great Britain.  But the soldiers escaped to fight another day, and Churchill turned the event on its head, claiming a moral victory and using it to espouse the spirit of resistance.

On land, the movie follows a young soldier Tommy (Fionn Whitehead) on the beaches of Dunkirk as he attempts with his fellow soldiers to survive long enough to be rescued.  On the sea, Mr. Dawson (Mark Rylance) and his son Peter (Tom Glynn-Carney) and Peter’s friend George (Barry Keoghan) set off in their small ship to Dunkirk to assist with the rescue.  And in the air, Farrier (Tom Hardy) and Collins (Jack Lowden) do their best to fend off the German planes long enough for the rescue to be a success.

It’s a dramatic yet simple story told in an innovative way by Christopher Nolan. While my favorite Christopher Nolan film remains THE DARK KNIGHT (2008) with INTERSTELLAR (2014) a close second, his work here on DUNKIRK rivals both these movies.

Of course, the film that set the bar for war movies remains Steven Spielberg’s SAVING PRIVATE RYAN (1998).  Is DUNKIRK as disturbing as SAVING PRIVATE RYAN?  No, but it doesn’t have to be.  It’s an effective movie in its own right.

And while the opening moments of DUNKIRK are not as in-your-face horrific as the opening in SAVING PRIVATE RYAN, it’s still intense and sets the tone for the rest of the movie.  Young Tommy’s early escapes from death are riveting and tense.  The film is rated PG-13 and as such you won’t see much bloodshed, but that’s not necessarily a bad thing.  R-rated movies these days use CGI blood which often looks fake. There’s nothing fake looking about DUNKIRK.  It all looks very real.

Christopher Nolan purposely chose unknown actors to portray the soldiers on the beach, and there is a minimal of dialogue.  We learn nothing about Tommy’s background, and he and his fellow soldiers do little more than looked dazed, exhausted, and frightened, which is exactly how they are supposed to look.  In most other movies, this lack of character development and lack of dialogue would be troubling, but not so here.  Here in DUNKIRK it comes off as authentic and real.

As such, Fionn Whitehead is effective and believable as Tommy, a character we know little about but we still want him to survive.  All we need to know is he’s on that beach and needs to get home.  In this situation, that’s enough to make his character work.

Aneurin Barnard is equally as good as Gibson, a French soldier Tommy befriends as they try to escape.  Since Gibson is French and speaks no English, he speaks in the movie even less than Tommy.  One Direction band member Harry Styles plays Alex, a soldier Tommy and Gibson rescue.  Styles gives Alex more personality than any other soldier in the film, and he makes Alex a cynical young man who gives away Gibson’s secret, that he is a French soldier impersonating a British one in order to be rescued by the British.

The folks on the boat probably deliver the best performances in the movie.  Mark Rylance is excellent as Mr. Dawson, the man who we learn later lost a son to the war and seems to embrace this mission as a way to save all his other “sons.”  Tom Glynn-Carney as Dawson’s son Peter and Barry Keoghan as Peter’s friend George also have some fine moments.

And Cillian Murphy is very good as the first soldier rescued by Dawson.  Shell-shocked, he resists their attempt to go to Dunkirk to rescue more soldiers.  He does not want to go back, as he is convinced they will die.

Once again, Tom Hardy is playing a role with a minimum of dialogue and with his face covered.  I’m starting to get used to Hardy playing roles where we can’t see his face, from Bane in THE DARK KNIGHT RISES (2012) to Mad Max in MAD MAX: FURY ROAD (2015). As pilot Farrier he only has a handful of lines here.  But that doesn’t stop Hardy from delivering a memorable performance.

Jack Lowden is also very good as Farrier’s fellow pilot Collins.

And while he’s not in the movie a whole lot, Kenneth Branagh also makes his mark as the well-respected Commander Bolton.

In another buck of traditional storytelling, there isn’t a major woman character to be found, but again, it doesn’t hurt this powerhouse movie.

There are a lot of riveting sequences. Tommy’s initial escape from German soldiers gets the film off to a tense start. The sequence where Tommy, Gibson and Alex hide out in an abandoned ship stranded on the beach during low tide just before it is used as target practice by the German soldiers is as suspenseful as it gets.

Scenes of ships being bombed and sunk are harrowing and cinematic.  And the editing during the climactic sequence is second to none.  It’s one of the more suspenseful last acts to a movie I’ve seen in a while.

Nolan also makes full use of sound.  When the planes attack, the sound effects are loud and harsh.  They make you want to cover your ears.  In short, during the battle scenes in DUNKIRK, the audience truly feels as if they are part of the battle.  You’ll want to duck for cover.

Sure, I could have used a bit more dialogue and character development.  Perhaps that would have made this movie perfect for me.  But as it stands, it’s still a pretty remarkable film.

DUNKIRK is a harrowing adventure, a rousing look at a pivotal moment in history, a rescue that had it not happened, would have changed the future of western civilization because the Nazis most likely would have conquered England and France, and who knows what would have happened after that.

But that’s not what happened, thanks to the herculean efforts of hundreds of civilians and their small ships, who against all odds rescued 338,000 trapped British soldiers from the beaches of Dunkirk.

DUNKIRK tells this improbable story in mind-bending fashion, thanks to the innovative efforts of Christopher Nolan, one of the most talented writer/directors working today.

It’s history brought to life by a gifted filmmaker and storyteller.

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THEIR FINEST (2017) – World War II Comedy Romance is Movie Making at its Finest

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Even though THEIR FINEST (2017) is mostly a comedy romance about the making of a propaganda movie about Dunkirk, what it does best as a World War II period piece is capture what life was like in Great Britain during the war, when men of age were off fighting, and left to pick up the slack at home were women, the elderly, and the injured.

It’s certainly the film’s strongest attribute.

It’s 1940, and the Nazis are bombing England relentlessly.  In this harsh environment, Catrin Cole (Gemma Arterton) shares an apartment with her struggling artist husband Ellis (Jack Huston).  Catrin lands a new job as a scriptwriter for a studio that makes propaganda movies for the war effort.  She’s hired to assist screenwriter Tom Buckley (Sam Claflin) with her specific duties being to write female dialogue.

The studio decides to do a movie on the Dunkirk rescue, and they base it on the story of twin sisters who took their father’s boat without his permission in order to rescue British soldiers.  Aging has-been actor Ambrose Hilliard (Bill Nighy) is hired to play the role of the drunken father, in the film changed to a buffoonish drunken uncle.  At first, Hilliard is not interested but eventually changes his mind when he’s reminded by his agent Sophie (Helen McCrory) that he’s no longer a young leading man and needs to take advantage of the roles now being offered him to keep his career alive.

When the Secretary of War (Jeremy Irons) informs them that Churchill plans to use their film as a tool to inspire Americans to join the war effort, the film takes on a whole new meaning and suddenly it becomes a major production.

I really enjoyed THEIR FINEST.  It’s full of fine acting performances, features spirited direction by Danish director Lone Scherfig, and has a literate script by Gaby Chiappe, based on the novel Their Finest Hour by Lissa Evans.

Gemma Arterton is wonderful as Catrin Cole. She plays Catrin as an independent intelligent woman who’s not afraid to ask for more money for her work when she knows she has to support her artist husband.  Arterton enjoys nice chemistry with Sam Claflin who plays fellow writer Tom Buckley.  Catrin and Tom grow closer together, even though Catrin tries her best to ignore her feelings since she’s married, but eventually fate intervenes.

Arterton has appeared in a wide variety of roles, but of the movies I’ve seen her in previously, QUANTUM OF SOLACE (2008), HANSEL & GRETEL: WITCH HUNTERS (2013), and RUNNER RUNNER (2013) this is by far the best role I’ve seen her play.  She’s smart, sincere, and sexy.

Sam Claflin also does a nice job as fellow writer Tom Buckley, who recognizes Catrin’s talent and eventually falls in love with her. Claflin played the young filmmaker in the underrated Hammer thriller THE QUIET ONES (2014).  Claflin has also appeared in THE HUNGER GAMES movies, THE HUNTSMAN films, and PIRATES OF THE CARIBBEAN:  ON STRANGER TIDES (2011).

And Bill Nighy delivers a scene-stealing performance as aged actor Ambrose Hilliard who is so full of himself that when he first reads the script for the Dunkirk movie he believes he’s being offered the role of the young hero, not the drunken uncle. Nighy gets the best lines in the film, and he also enjoys some of its best scenes.

In a movie-within-a-movie scene, where Catrin rewrites the uncle as a more heroic character, Nighy plays the uncle’s dying moment on the boat.  He hallucinates and thinks the two soldiers with him are his sons, who were lost in the previous war, World War I.  It’s a brilliant moment.  The scene works in the fictional movie, and it works in the main film because Nighy nails Hilliard’s delivering the performance of his life.

And the most poignant moment in the film comes near the end, after Catrin has endured tragedy, and it’s Hilliard who’s there by her side to keep her from falling, and he tells her that they only have these opportunities because the young men are all at war, but that doesn’t mean that they shouldn’t take full advantage of these opportunities, which sums up the main theme of the movie.

Jack Huston is also very good as Catrin’s husband Tom, struggling with both his artistic career and sense of worth since an injury has kept him from fighting in the war.

Helen McCrory stands out as Sophie Smith, whose husband was Hilliard’s agent until he was killed by a Nazi bomb.  Sophie decides to take over her husband’s practice, and once she does, Hilliard’s career never looks back.  It’s a very strong performance by McCrory, and like Arterton and Claflin, she shares nice onscreen chemistry with Bill Nighy.

Likewise, Jake Lacy is memorable as Carl Lundbeck, an American war hero who is added to the cast to make the film more appealing to Americans, which causes some headaches as well as some comic relief because he has no acting experience whatsoever.  Lacy ‘s performance reminded me of something a young Christopher Reeve might have done.

The rest of the cast is solid and enjoyable.  There’s not a weak link to be found.

I loved the script by Gaby Chiappe. It works on several levels.  The most fun and rewarding level is the film within a film concept, and by far the liveliest scenes are the behind the scenes workings of the writers and film crew trying to get this film off the ground.  And the finished product, a Technicolor production entitled THE NANCY STARLING, which we catch glimpses of as Catrin sits in an audience of enthusiastic filmgoers, generates lots of emotion.

The movie also works as a wartime romance, as well as a World War II period piece drama. And just when I wasn’t so sure the romance part was working, the film delivers a menacing blow and at that point reaches a whole other level.

I also enjoyed the direction by Lone Scherfig.  The film looks great, and she captures the period of World War II England, bombed on a regular basis, perfectly.

There’s even a nod to Alfred Hitchcock..

The title, THEIR FINEST, comes from a speech by Winston Churchill, where he described England’s resistance to the Nazis as “their finest hour.”

THEIR FINEST is a wonderful movie.  In addition to being a love story and a comedy, it’s also a thoughtful and poignant look at the role women played in England during the war.

It’s movie making at its finest.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

THE ZOOKEEPER’S WIFE (2017) Reminds Us Atrocities Need Not Be Accepted

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THE ZOOKEEPER’S WIFE (2017) is based on the nonfiction book of the same name by Diane Ackerman and tells the true story of how the keepers of the Warsaw Zoo hid, protected, and ultimately saved hundreds of Jews during the Nazi invasion and subsequent occupation of Poland during World War II.

The film opens just before the Nazi invasion, in the summer of 1939, and we are introduced to the couple who run the Warsaw Zoo, Jan Zabinski (Johan Heldenbergh) and his wife Antonina (Jessica Chastain).  It’s a remarkable place, and the Zabinskis treat the animals like family.  Antonina in particular has a way with the animals that enables her to share a special bond with them.  We see this firsthand in a touching scene where she tries to save a dying baby elephant while its nervous and frightened parents stand nearby, ready to pounce on her, and yet, because of her sensitivity towards them, they allow her to treat their baby.

We also meet a German zoologist Lutz Heck (Daniel Bruhl) who brushes off talk of an imminent German invasion, as he says he’s a zoologist and keeps out of politics.

But on September 1, 1939, the invasion happens, first with bombs which decimate the zoo, and then with soldiers, and once the Nazis take over, they herd the Jews into ghettos and force them into deplorable living conditions.  Jan sees these actions firsthand and is horrified by them.

The bombs destroy most of the zoo and kill many of the animals.  Later, their former friend Lutz Heck, now a prominent member of the Nazi party, informs Antonina that all the animals will have to be killed for food for the war effort.  However, he tells Antonina that with her permission he will remove her prize animals and bring them to his zoo in Germany where they will be safe, and she agrees.

However, Jan is outraged, believing that Lutz is simply stealing their animals, and when Antonina says that at least Lutz asked her permission, Jan testily answers that as a Nazi Lutz doesn’t need her permission.  And as winter approaches, the Nazis kill the remaining animals anyway.

Jan tells Antonina of the horrors of what’s going on inside the ghetto, and they decide they cannot stand by and do nothing.  Since the animals are all gone, there is plenty of empty space in the basement beneath the zoo, and they decide to use these empty areas to hide people.  With help, they come up with a system of removing people from the ghetto and secretly bringing them to the safety of the zoo, which is no easy task with Lutz and his fellow Nazis constantly on the prowl.

There no doubt will be comparisons between this movie and SCHINDLER’S LIST (1993) because they tell similar stories, and while SCHINDLER’S LIST is a more powerful movie, THE ZOOKEEPER’S WIFE is effective in its own right.

Beautifully shot by director Niki Caro, we at first glimpse the wonderful life the citizens of Warsaw experience before September 1, 1939, in particular the harmonious haven created by the Zabinskis at the  Warsaw Zoo.  And when things turn harsh after the invasion, the camera does the same.  Looking out their window, the Zabinskis see what they at first believe are snowflakes falling from the sky, but upon closer inspection they see that what is falling is ash.  The Nazis are burning the ghetto to the ground.

The screenplay by Angela Workman based on Ackerman’s book doesn’t overplay its hand.  The Nazi atrocities are well-known— or at least they should be— and the story  while not sugar-coating things does not go out of its way to show these horrors first hand either; hence the PG-13 rating.  Yet, there are still some jarring scenes, like when two Jewish women are shot in the head at point-blank range.

I’m a huge fan of Jessica Chastain, and I really enjoyed her performance here as Antonina Zabinski.  She especially captures the sensitivity Antonina possessed which allowed her to work so closely with the animals; they trusted her. Likewise, when it’s up to her to work closely with Nazi Lutz Heck, her skills once more come into play.  She has a way with him as well, and like the animals in the zoo, he trusts her.  This allows them to continue to hide the Jews under the noses of the Nazis.  For a while, anyway.

As much as I enjoyed Chastain, the best performance in the movie belongs to Johan Heldenbergh as Antonina’s husband Jan.  As Jan, Heldenbergh displays a wide range of emotions, from strength, to horror and outrage at what the Nazis are doing to his Jewish friends, to jealousy over his wife’s and Lutz’ relationship, even though he knows that its integral to the success of their efforts.  It’s a deep resonating performance, and while Antonina spends most of her time at the zoo working with Lutz, it’s Jan who’s active in the streets of Warsaw and who is personally responsible for whisking the Jews out of the ghetto.  As such, he sees much more of the atrocities than his wife does, and it takes a heavy toll on him.  The scene where he watches children being loaded onto the box cars of the crowded train is one of the more powerful images in the film.

Daniel Bruhl  makes for a sufficiently villainous Nazi, Lutz Heck.  However, since he’s for the most part “tamed” by Antonina, he’s nowhere near as despicable as some other movie Nazis.    His actions are somewhat muted because of his feelings for Antonina.

The rest of the cast does a nice job in support of these three main actors.  Iddo Goldberg is memorable as their Jewish friend Maurycy Fraenkel, and Shira Haas stands out as a young girl Jan rescues from the ghetto after she is raped by Nazi soldiers.

Michael McElhatton is memorable as the Rabinski’s loyal employee Jerzyk who stays with them through the whole ordeal and risks his life for them on numerous occasions.  And while McElhatton appears on GAME OF THRONES, I just saw him in a horror movie I liked, THE HALLOW (2015).

THE ZOOKEEPER’S WIFE is a potent movie about a horrible time in our world’s history, and it tells an uplifting story about bravery in the face of unspeakable horrors and says a lot about the human spirit.  In spite of the Nazis threat, the Rabinskis refused to stand by and do nothing.

As the world continues to be a sadly dangerous place, it’s a message people the world over should take to heart and remember.  Atrocities need not be accepted.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

ALLIED (2016) Hearkens Back to 1940s Classics

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The best part about ALLIED (2016), a love story and thriller that takes place during World War II, is that it hearkens back to classic movies like CASABLANCA (1942) and Hitchcock’s NOTORIOUS (1946).  The worst part is that in spite of the nostalgia it evokes, it fails to rise to the levels which made those 1940s classics so memorable.

That being said, ALLIED is a solid film that is much better than the lack of hype surrounding it would lead you to believe.

ALLIED opens in 1940 Casablanca, where we meet Max Vatan (Brad Pitt) a British intelligence officer on a mission to assassinate a key Nazi figure.  He’s working with Marianne Beausejour (Marion Cotillard) a French Resistance fighter, and the two are posing as husband and wife as they work to infiltrate the inner circles of the Nazi regime in Casablanca.  It’s a bold assassination plot, and their chances of survival are slim.

But survive they do, and as they make their escape from Morocco, Max asks Marianne to come back to London with him and marry him, which she does.  The two of them, having risked so much to pull off their ruse in Casablanca, have clearly fallen in love.

The two begin a life in World War II London, even having a baby together, and life is as good as it can be for people being bombed regularly by the Nazis.  But things take a sinsiter turn when Max’s superior officer Frank Heslop (Jared Harris) informs him that British Intelligence suspects Marianne of being a Nazi spy, and that if proven true, that Max will have to kill her.

The final third of the film follows Max’s efforts to learn the truth about his wife- is she a spy or isn’t she, and if she is, then what will he do about it?

I really enjoyed ALLIED, although the film falls short of being something special.

I especially enjoyed the beginning of this movie.  It takes its time setting the stage for the assassination plot by Max and Marianne.  Lesser films would have begun with the assassination and jumped right into the marriage between Max and Marianne.  By inviting us into the stress and anxieties behind their ruse, the film really allows its audience to get to know Max and Marianne and to see just how it is that they fall in love.  It makes the second part of the film all the more painful because we see these two go through a lot and grow very close.

The scenes during this part of the movie involving Nazis are also very suspenseful and well done.  The opening third of the movie is compelling and tense.

The movie also looks great, fully capturing the period, which one would expect from a movie directed by Robert Zemeckis.  And it’s interesting that Zemeckis directed this movie, because you know he’s the guy behind such visual flicks as the BACK TO THE FUTURE movies, WHO FRAMED ROGER RABBIT? (1988), FOREST GUMP (1994), and THE POLAR EXPRESS (2004), but there really isn’t anything all that visual about ALLIED other than its period piece window dressings.  I mean, the film looks wonderful, but knowing that Zemeckis directed this one, I expected even more in terms of cinematic flair.  That’s not meant to be a knock on Zemeckis but simply an observation that knowing his resume I thought his work here was not all that reflective of his signature style.

The screenplay by Steven Night is as solid as the rest of the movie.  As I said, it does a nice job in the first act of allowing us to be a part of Max’s and Marianne’s love story.   The second act keeps things moving as the action switches to wartime London, and of course the final act turns things up a notch as the audience is eager to follow Max on his investigation, to help him learn the truth about his wife— is she a spy or isn’t she?

I thought the one place where the movie didn’t excel was its ending. Like the rest of the movie, it’s satisfactory, but it’s nothing special.  I had hoped that a phenomenal ending would put this movie over the top, but that was not the case.  It’s certainly not a bad ending by any means, but CASABLANCA it ain’t.

Night also wrote the screenplay for THE HUNDRED-FOOT JOURNEY (2014), a wonderful film that was one of my favorite movies of 2014 yet seemed to fly under everyone else’s radar.

If Brad Pitt seems quite at home wearing a World War II military uniform, that’s because he’s already done so in Quentin Tarantino’s INGLOURIOUS BASTERDS (2009) and more recently in FURY (2014).  As Max Vatan, Pitt is just OK here.  I’ve seen him deliver far better performances— in MONEYBALL (2011), KILLING THEM SOFTLY (2012), and THE BIG SHORT (2015), to name just a few recent ones— than he gives here in ALLIED, where he seemed quiet and reserved throughout. For a man fearing that his wife is a Nazis spy, he never really shows the amount of angst one would expect from a man in his position.  It also doesn’t help that Pitt seems to wear the same blank expression on his face throughout the movie.  Sure, it’s the look of a man who is a covert intelligence officer, who is trained not to let others see his true feelings, so in terms of the plot of the movie, it’s fine, but in terms of letting an audience know what he’s thinking, it doesn’t fly.

The best performance in the movie belongs to Oscar-winning actress Marion Cotillard.  She nails Marianne’s persona.  In the opening act of the film, Marianne tells Max that she is successful at fooling people because her emotions are true and real.  She really does like the people she is infiltrating, and so her emotions are genuine and difficult to see through.  Which makes things all the more complicated for Max later when he’s trying to decipher if she is a Nazi spy or not.  Cotillard captures this duplicity brilliantly.  Because of her performance, the audience really believes that she is in love with Max, but like Max, we’re not so sure if these genuine feelings are legit or simply part of her job as a spy.

Cotillard is also terribly sexy in this role, and I enoyed Cotillard here better than in other Hollywood movies I’ve seen her in, movies like INCEPTION (2010) and THE DARK KNIGHT RISES (2012).

Jared Harris, an excellent actor who has a ton of credits, and who I have particularLy enjoyed in such movies as SHERLOCK HOLMES:  A GAME OF SHADOWS (2011) where he played Professor Moriarty, and the underrated Hammer Film THE QUIET ONES (2014), as well as the TV series MAD MEN (2009-2012) where he played Lane Pryce, is good here in a supporting role as Max’s superior, Frank Heslop.

For some reason, ALLIED has received almost no hype. I suspect, based on things that I’ve heard and read, that the powers that be had little faith in this movie.  It’s actually a pretty good movie, especially if you enjoy World War II period pieces.

Is it as good as those classics I mentioned at the outset of this review?  No, but then again, not many films are.  But it’s still a solid movie from beginning to end, worth the price of a movie ticket, and good for an enjoyable two hours at the movies.

—END—