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 Post subject: DUNKIRK
PostPosted: Thu Dec 15, 2016 10:14 am 
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http://hotair.com/archives/2016/12/14/v ... k-trailer/

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Video: “Dunkirk” trailer

POSTED AT 10:31 PM ON DECEMBER 14, 2016 BY ALLAHPUNDIT

A late-evening palate cleanser from the last era in which the the U.S. and Russia were allies — of necessity. Here’s hoping the coming entente with Moscow’s new dictator is just as fruitful.

It’s one of the most momentous battles of World War II as imagined by Christopher Nolan. What more do you need to know? Maybe only this: There’s a stroke of genius involved here in casting British boy-band heartthrob Harry Styles as one of the soldiers. Many Americans won’t know him but he’s a big — big — celebrity in the UK, with nearly 30 million followers on Twitter. Kids who wouldn’t have thought twice about sitting through a historical drama will line up for Styles. It’s a clever way for Nolan to have expanded the audience for a movie like this.





The trailer looks interesting.

I may be adding this to my list of upcoming movies to watch.

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 Post subject: Re: DUNKIRK
PostPosted: Thu Dec 15, 2016 2:05 pm 
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Looks good. Pretty classic example of "snatching your fat out of the fire" as a result of terrible strategic planning.

Lets hope no Free World Power EVER makes such a horrific planning mistake again. Heroism is great, but best not to force one's people to it.

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 Post subject: Re: DUNKIRK
PostPosted: Tue Jul 18, 2017 10:34 am 
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Reviews:

http://variety.com/2017/film/reviews/du ... 202495701/


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Film Review: Christopher Nolan’s ‘Dunkirk’

JULY 17, 2017 | 01:00PM PT
Christopher Nolan recreates the World War II evacuation from land, sea and air, interweaving events in a bravura virtual-eyewitness account.

Steven Spielberg laid claim to the Normandy beach landing, Clint Eastwood owns Iwo Jima, and now, Christopher Nolan has authored the definitive cinematic version of Dunkirk. Unlike those other battles, however, this last was not a conventional victory, but more of a salvaged retreat, as the German offensive forced a massive evacuation of English troops early in World War II. And unlike those other two directors, Nolan is only nominally interested in the human side of the story as he puts his stamp on the heroic rescue operation, offering a bravura virtual-eyewitness account from multiple perspectives — one that fragments and then craftily interweaves events as seen from land, sea and air.


Take away the film’s prismatic structure and this could be a classic war picture for the likes of Lee Marvin or John Wayne. And yet, there’s no question that the star here is Nolan himself, whose attention-grabbing approach alternates among three strands, chronological but not concurrent, while withholding until quite late the intricate way they all fit together. Though the subject matter is leagues (and decades) removed from the likes of “Inception” and “The Dark Knight,” the result is so clearly “a Christopher Nolan film” — from its immersive, full-body suspense to the sophisticated way he manipulates time and space — that his fans will eagerly follow en masse to witness the achievement. And what an achievement it is!

From the opening scene, “Dunkirk” places us in a state of jeopardy as German sharpshooters pick off a group of British soldiers just yards from the embattled beachhead. Not that things are any safer on the other side of the French-defended barricade. “We surround you,” reads an air-dropped leaflet that accurately represents the Allies’ ever-shrinking position. Backed against the sea, what remains of the British Expeditionary Force can practically see their homeland a mere 26 miles away, but are vulnerable to attacks from the air.

The first fly-by bombing catches us just as much off-guard as it does Tommy (Fionn Whitehead), thin, handsome and hardly more than a child. His dash to the beach could be a game, if the gunshots that fell his comrades and explode inches from his head weren’t so lethal or so loud (as always with Nolan, sound design dramatically heightens the intensity of the experience).

Driven by a mix of naïveté and survival instinct, Tommy makes an ideal guide through the week-long ordeal, allowing us to experience the strange, almost random way that cowardice blossoms into courage on the battlefield. His storyline, labeled “The Mole” (possibly a play on words, seeing as how it’s set primarily on Dunkirk’s pier-like projection, or mole, but also introduces a somewhat unnecessary subplot involving a non-British infiltrator, or mole), is the most audacious: It features hardly any dialogue, relying instead on our ability to adapt to the unrelentingly harrowing situation, as when Tommy and another low-ranking soldier (Aneurin Barnard) grab a stretcher and use the injured man to board a hospital ship, only to be ordered off moments before it sinks.

No fewer than four British ships go down in “Dunkirk” — not counting the one from which Cillian Murphy’s nameless “shivering soldier” is rescued — and each capsizes alarmingly quickly. This isn’t “Titanic,” in which miniature melodramas had time to unfold as the boat slowly sank, either. Whereas air battles are drawn out and repeated for effect, Nolan and editor Lee Smith compress the doomed-boat scenes for ruthless efficiency, turning the water into a place of high-stakes peril.

While big military ships make massive targets for German bombers and U-boat attacks, Dunkirk’s rough waves and shallow coastline demanded a different approach, and so Operation Dynamo was born: an all-hands call to civilian sailors, asking that they steer any vessel they can, from fishing trawlers to pleasure yachts, across the English Channel to rescue as many of the stranded soldiers as possible. Labeled “The Sea,” this segment feels more traditional, emotionally manipulative enough to match the almost-corny 1940s British propaganda film in this year’s “Their Finest.” (Even in Imax, in which most of the movie fills the massive, nearly-square aspect ratio, this portion is presented in a relatively constrained 2.40:1 format — the same dimensions to which the entire film will be cropped in traditional theaters.)

During this sea-rescue segment, the characters are familiar archetypes, from duty-bound captain Mr. Dawson (Mark Rylance) to determined teenage tagalong George (Barry Keoghan), and their predictable behavior is elevated by the actors’ fine performances. Rylance in particular speaks volumes even when saying very little, and several of the movie’s most poignant moments are conveyed almost entirely without words, via his expressions alone — as when Dawson realizes the likely death that awaits them just beyond the horizon.

Dunkirk’s beaches represent a special kind of hell in the film, a danger zone where the British are frightfully exposed to attacks from above — and where fate, in all its grim absurdity, forces a few of the characters to return multiple times. Just when the soldiers think they’ve escaped, the tide pulls them back in.

Though much of the Royal Air Force was ordered not to engage, a third strand called “The Air” focuses on two Spitfire pilots (Tom Hardy and Jack Lowden) determined to protect, as best they can, the rescue vessels from airborne German attack. Hilariously enough, the role finds Hardy once again in Bane mode, his mouth covered and his dialogue all but inaudible — and yet, the heroism shows through his actions and the determined glint in his eyes.

Both Murphy and Hardy have worked with Nolan before (each as Batman villains), but he uses them in character-actor mode here, treating these marquee talents as equals among a cast of newcomers (including Harry Styles, looking every bit the 1940s matinee idol). Playing the highest-ranking Navy officer on the beach, Kenneth Branagh provides the film’s only star performance, and even then, it all comes down to a meaningful salute delivered in “Dunkirk’s” final minutes.

By this point in the film, Nolan has tied the three storylines together. While unnecessarily confusing at times (and not especially satisfying as a puzzle — at least not in the way the ingenious backward-logic of “Memento” was back in the day), by splintering these three storylines, the director allows us to experience the Dunkirk evacuation from multiple perspectives. In his extensive pre-production research, Nolan pored over survivors’ firsthand accounts and inevitably found inconsistencies among them — a phenomenon he ingeniously incorporates into his screenplay. In “Dunkirk,” subjectivity is not merely a tool for in-the-moment suspense, but also for suggesting the innumerable different ways people both lived and remembered the week’s events: One moment, a Spitfire pilot might be swooping in to save a Navy ship, and the next, he’s the one in need of rescuing as his seatbelt jams and his cockpit fills with water.

And yet, Nolan never once privileges the German p.o.v. (a bold departure from most war movies, including “Tora! Tora! Tora!,” which showed both sides, or Michael Bay’s “Pearl Harbor,” which famously offered a Japanese bomb’s-eye-view of the attack). Nolan’s goal is to give an exclusively British account of events, zeroing in on how it must have felt to the everyday heroes who lived it, as opposed to the leaders calling the shots. When Winston Churchill is finally heard, his words are being read aloud from the pages of a newspaper by an ordinary soldier, rather than delivered by the prime minister himself.

And in that nuance is the great accomplishment of Nolan’s feat: On one hand, he has delivered all the spectacle of a big-screen tentpole, ratcheting up both the tension and heroism through his intricate and occasionally overwhelming sound design, which blends a nearly omnipresent ticking stopwatch with Hans Zimmer’s bombastic score — not so much music as atmospheric noise, so bassy you can feel it rattling your vertebrae. But at the same time, he’s found a way to harness that technique in service of a kind of heightened reality, one that feels more immersive and immediate than whatever concerns we check at the door when entering the cinema. This is what audiences want from a Nolan movie, of course, as a master of the fantastic leaves his mark on historical events for the first time.


Additional reviews here:

http://ew.com/movies/2017/07/17/dunkirk-review/

http://www.hollywoodreporter.com/review ... ew-1021600

I think that I will be making a trip to the theaters to see this one (preferrably in the IMAX format).

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 Post subject: Re: DUNKIRK
PostPosted: Tue Jul 18, 2017 5:15 pm 
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BREXIT 1.0 :P


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 Post subject: Re: DUNKIRK
PostPosted: Tue Jul 18, 2017 6:48 pm 
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wulfir wrote:
BREXIT 1.0 :P


:lol:

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 Post subject: Re: DUNKIRK
PostPosted: Wed Jul 19, 2017 2:49 am 
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Delingpole: Not Enough ‘Women’, ‘People of Color’ in ‘Dunkirk,’ USA Today Complains

Dunkirk is a great movie but there aren’t enough “women” or “people of color” in it, according to a review in USA Today.
The movie – with a cast including Mark Rylance, Kenneth Branagh, and former One Direction singer Harry Styles – has been given a slew of five-star reviews for its vivid, nail-biting depiction of the evacuation of the British Expeditionary Force from Dunkirk in 1940.

But though USA Today’s reviewer praised it too, he couldn’t resist giving it a little rap on the knuckles about its shameful lack of diversity and equality:

The trio of timelines can be jarring as you figure out how they all fit, and the fact that there are only a couple of women and no lead actors of color may rub some the wrong way.

Yes, it’s true that Dunkirk’s leading roles are indeed dominated by white European males.

But one possible reason for this is that Dunkirk was an actual historical event which director Christopher Nolan has gone to considerable trouble to recreate as accurately as possible.

Sure it might have provided valuable comic relief if Amy Schumer or Rebel Wilson – or perhaps even both – had been cast as, say, two brilliant battlefield surgeons who insisted on staying behind with the troops when all their male counterparts had fled.

Also, it would definitely have added a new dimension had James Earl Jones been cast as the salty old Royal Naval officer called out of retirement for one last trip across the English Channel, or if Ice T and Snoop Dogg had been given the role of two aging rappers who parachute from a Dakota to administer weed to the desperate troops, or if Oprah appeared in a cameo as Queen Mary welcoming the returning troops after their desperate voyage.

But it wouldn’t have been historically authentic.

The guy from USA Today: he does know it’s history, right?


http://www.breitbart.com/big-hollywood/ ... complains/

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 Post subject: Re: DUNKIRK
PostPosted: Wed Jul 19, 2017 4:30 am 
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Does look awesome. Only 90 minutes so I imagine subplots are kept to a minimum - no doubt that's why there's not many women in it, what no romance???

Time for this again from Atonement because it's a good, and slightly surreal, scene...


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 Post subject: Re: DUNKIRK
PostPosted: Thu Jul 20, 2017 12:24 pm 
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Anyone know a good book on the evacuation? The more big picture, scientific, the better.

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 Post subject: Re: DUNKIRK
PostPosted: Thu Jul 20, 2017 5:54 pm 
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reinald wrote:
Anyone know a good book on the evacuation? The more big picture, scientific, the better.


This one seems pretty hard core, not read it myself though...

https://www.amazon.co.uk/d/Books/Operat ... ion+dynamo

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 Post subject: Re: DUNKIRK
PostPosted: Thu Jul 20, 2017 11:12 pm 
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Jimmy Fallon gushing, Harry Styles in a camo, robot Yank audience clapping...



Thank's Hollywood.

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