war film
Owen Richards
Major Fakhir is a deminer, responsible for disarming hundreds of mines around Mosul every week. His American counterparts know him by a different title: Crazy Fakhir, a man who rides the edge of his luck, constantly in imminent danger. Yet to him, death is nothing compared to the heavy conscience he would carry by doing nothing.The Deminer is an extraordinary insight into the life of Major Fakhir, compiled from around 50 hours of amateur footage. Armed with little more than a pair of wire cutters and a knife, Fakhir tackles a variety of bombs with worrying abandon: he hacks around landmines Read more ...
Adam Sweeting
With Dunkirk and Darkest Hour threatening to storm the Oscars, it seems there’s suddenly plenty of mileage in portraits of the British at war. There have been several film and TV versions of RC Sherriff’s World War One play, Journey’s End, since it debuted on the London stage in 1928 (featuring a young Laurence Olivier), but director Saul Dibb’s new incarnation is a fine testament to the lingering potency of the piece.Its timing is immaculate, since the action depicted took place on the Western Front almost exactly 100 years ago, and later this year we’ll be remembering the 1918 Armistice. Read more ...
Saskia Baron
It’s fascinating to compare this Norwegian film, which despite being Oscar-nominated (it made the Best Foreign Film shortlist of nine, but not the final five) has slipped out without a cinema release in the UK, with Darkest Hour. Set over a crucial few days in April 1940, it’s a parallel story of powerful personalities and their personal and political dilemmas in the face of Germany’s invasion of Europe. But the parallels don’t extend to directorial style; where Joe Wright opted for overly artful set pieces and CGI flourishes in Darkest Hour, for The King’s Choice Erik Poppe adheres to the Read more ...
Markie Robson-Scott
This Vietnam vet/road movie is a warm-hearted, meandering piece, but any similarities to Linklater’s Boyhood or the Before…trilogy end there. This is a darker story, but not dark enough, and you wish it could have been less conventional and harder-hitting. Set in 2003, its first scene is in a run-down Virginia bar with Sal, a jaded alcoholic ex-marine (Bryan Cranston in a stand-out performance) at its helm. Doc, a shy former medic from Vietnam days who Sal doesn’t recognise at first (a low-key Steve Carell), re-enters his life, followed by a third ex-marine, Mueller, who was once a hell- Read more ...
Saskia Baron
Danish director Martin Zandvliet brilliantly explores a little-known episode in 1945 when more than 2,000 German POWs were forced to clear almost two million land mines that had been buried on the beaches of the west coast of Denmark in anticipation of an Allied invasion. Many of these POWS were schoolboys who had been conscripted in the final year of the war when the Nazis were desperate for soldiers. Roland Møller plays a Danish sergeant who has spent the war fighting with the British (he still wears Parachute regiment uniform). He now has the task of overseeing 14 German teenagers who Read more ...
Tom Birchenough
It doesn’t take long, I think, to work out the associations of the title of Insyriated: we are surely being presented with a variation of “incarceration”, one tinged by the very specific context of the conflict that has ravaged Syria for six years now. But there’s a certain ambiguity at the centre of Belgian director Philippe Van Leeuw’s film about a Damascus family confined in their apartment as civil war goes on around them – they have not been literally locked up by anyone, rather their temporary self-confinement, presided over and enforced by the powerful matriarch Oum Yazan (Hiam Abbass Read more ...
Graham Fuller
Abel Gance’s remake of his 1919 classic was a worthy but overwrought attempt to avert World War II, which by 1938 was already a fait accompli. In their comparative sombreness, King Vidor’s The Big Parade (1925) and Lewis Milestone’s All Quiet on the Western Front (1930) are greater anti-war films, but then Vidor and Milestone couldn’t possibly have feared, as did Gance, the coming conflagration.Gance’s sardonic dedication to those viewers who would become “the Dead of tomorrow’s war” sets the tone of the second J’Accuse as an awful mirror of death. Transactions between the living and the dead Read more ...
Adam Sweeting
Movies which essentially consist of a central character trapped in a difficult predicament can be great (Tom Hardy in Locke), or more likely not so great (Colin Farrell in Phone Booth or Ryan Reynolds in Buried). In any event it’s not a challenge to be undertaken lightly, since the viewer is always wondering what brilliant or absurd trick is coming next to keep boredom at bay and the show on the road.In The Wall, director Doug Liman (The Bourne Identity, Edge of Tomorrow) has teamed up with debut screenwriter Dwain Worrell to create a 90-minute thriller about snipers divided by the eponymous Read more ...
Jasper Rees
He may often be voted Greatest Briton in the History of Everything, but are we approaching peak Winston? Scroll down Churchill’s IMDb entry and you’ll find that he’s been played by every Tom, Dick and Harry in all manner of cockamamie entertainments. The key pillars of his filmography are (apart from Young Winston) as follows: The Gathering Storm (Albert Finley) and Into the Storm (Brendan Gleeson), both scripted by Hugh Whitemore; The King’s Speech (Timothy Spall); The Crown (John Lithgow). Then on stage there’s been The Audience (various actors) and Three Days in May (Warren Read more ...
Adam Sweeting
While it makes for a moderately amusing evening out, this World War Two espionage-romance caper doesn't stand up to a lot of scrutiny (I'm trying to work out where they managed to find the "Best Film of the Year!" quote used in the TV ad). Stars Brad Pitt and Marion Cotillard will guarantee some ticket-shifting action, but the apparent intention of director Robert Zemeckis and screenwriter Steven Peaky Blinders Knight to recreate Hollywood's vintage wartime melodramas never quite comes off.Still, it's quite fun to see them trying. The opening scene is a shot of sun-scorched desert sands Read more ...
Adam Sweeting
Given the fractious state of American politics, perhaps it's a suitable moment for a movie taking a look back at the American Civil War. However, despite heaving at the seams with good intentions and noble sentiments, Gary Ross's Free State of Jones ultimately can't justify its debilitating 140-minute running time.It's based on the real-life story of Newton Knight (Matthew McConaughey), a Mississippi farmer who turned deserter and ended up declaring his own independent mini-state, one peopled by runaway slaves and former soldiers sickened by the Civil War carnage and the rapacious martial law Read more ...
Tom Birchenough
The latest in a long tradition of Russian Second World War films, Sergei Mokritsky’s Battle for Sevastopol itself emerged out of conflict. Initiated as a "status" joint project between Russia and Ukraine well before relations between those two countries soured, production continued despite the rift that deepened between them. The film premiered in both on the same day in April 2015, earning considerable – and equal – box office success on both sides of a border riven by war.It’s also that rare thing, a Russian-language mainstream film that has the potential to travel beyond its original Read more ...