Dunkirk (2017)

Director: Christopher Nolan

Cast: Fionn Whitehead, Tom Glynn-Carney, Jack Lowden, Harry Styles, Aneurin Barnard, James D’Arcy, Barry Keoghan, Kenneth Branagh, Cillian Murphy, Mark Rylance, Tom Hardy

Screenplay: Christopher Nolan

106 mins. Rated PG-13 for intense war experience and some language.

IMDb Top 250: #209 (as of 1/16/2018)

 

Dunkirk is a departure for Christopher Nolan (Inception, Interstellar). The director is known for his high-concept sci-fi epics and comic book adaptations like The Dark Knight. Now, he turns his keen eye for storytelling to history in a film based on the Dunkirk evacuation of World War II.

Dunkirk’s story is laid out in three different perspectives. First, on the beach, where Tommy (Fionn Whitehead, Him, The Children Act) and other soldiers await rescue from the sea. At sea, Mr. Dawson (Mark Rylance, Bridge of Spies, The BFG) and his son Peter (Tom Glynn-Carney, TV’s The Last Post) are joined by Peter’s friend George (Barry Keoghan, The Killing of a Sacred Deer, ’71) in their small civilian boat headed from Weymouth to the beach to rescue the stranded soldiers. In the air above the beach, the pilot Farrier (Tom Hardy, The Revenant, Mad Max: Fury Road) flies his Spitfire plane and tries to take out as many enemies as possible with his limited fuel depleting. As the three plots intermingle, director Nolan shows a multi-layered view of the intense rescue mission that could save or doom the lives of 400,000 men.

As per usual, Nolan picked an interesting layout for the film by introducing the triptych nature of three interwoven stories that each runs on a different timeline. For example, the story of the pilots occurs over the course of an hour or so but in the film, Nolan runs this concurrently with the story of Mr. Dawson, which takes place over the course of a day. The time on the beach runs about a week in length. The nature of the timeline can get rather confusing for some viewers, but in running all three pieces together, it gives equal weight to everyone’s contributions and creates an interesting puzzle to put together, one I rather enjoyed.

The characters in the film have virtually no dialogue and no character development, something that I grew to appreciate on my second viewing of the film after understanding Nolan’s intention, but I feel like having something, anything, to make us care about these characters outside of their present debacle would have been better.

Dunkirk is a technical masterpiece, and if you missed the chance to see it in IMAX 70 mm, then I am sorry. The film is run time makes it a tight and exhilarating marvel to behold, and, combined with Darkest Hour, would be a splendid double feature. My heart jumped several times during the viewing, and even with the loss of character-building, I was entertained wholly by the film’s presentation. This is a powerful story that I knew very little about until seeing Nolan’s film. Dunkirk comes highly recommended.

 

4.5/5

-Kyle A. Goethe

 

 

For my review of Christopher Nolan’s Interstellar, click here.

 

For more Almighty Goatman,

Money Monster (2016)

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Director: Jodie Foster

Cast: George Clooney, Julia Roberts, Jack O’Connell, Dominic West, Caitrona Balfe, Giancarlo Esposito

Screenplay: Jamie Linden, Alan DiFiore, Jim Kouf

98 mins. Rated R for language throughout, some sexuality and brief violence.

 

I actually thought Jodie Foster (The Beaver, Home for the Holidays) had directed more films. Just putting that out there.

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Money Monster, a popular finance and investment TV show, is currently airing their latest episode, starring financial expert Lee Gates (George Clooney, Gravity, Hail, Caesar!). As the show is airing, a deliveryman arrives and holds the building hostage, aiming his gun right at Lee. The man who holds Gates hostage is Kyle Budwell (Jack O’Connell, Unbroken, ’71), who lost every penny he had from his mother’s inheritance by investing in IBIS after it was endorsed on Money Monster. As the building becomes a media circus, Lee has to use the aid of longtime director and colleague Patty Fenn (Julia Roberts, Notting Hill, Mother’s Day) to talk Kyle down and keep himself out of the grave.

Money Monster is an interesting idea in itself, an angry investor takes a financial expert hostage on his own show, but the fire quickly burns out on this premise. As Lee and Patty work to keep Kyle from pushing a detonator, I slowly found myself uninterested in any of the characters, a shocking notion given the chemistry between Clooney and Roberts. Then, about halfway through the film, the implausibility meters breaks off on a strange tangent that seemingly makes no sense. That’s right, the ending of this film goes right off the rails and becomes rather silly.

Director Jodie Foster builds tension at the beginning of the film, but Lee Gates isn’t likable enough a character to inspire sympathy, nor really is Patty Fenn. Kyle is a rather stupid individual as well, and I don’t find myself on his side either. Really, I had a lot of difficulty deciding if who I’m supposed to root for.

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All in all, Money Monster really falls flat very quickly on its intriguing premise and the movie never really gets back up. This was downright disappointing in every way.

 

2/5

-Kyle A. Goethe

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