Behind the Line: Escape to Dunkirk


A horse as a matter of course.

(2020) War/Sports (Picture Perfect) Sam Gittins, Joe Egan, Jennifer Martin, Chris Simmons, Joel Phillimore, Michael Elkin, Tim Berrington, Jake J. Menlani, Ryan Winsley, Toby Kearton, Antonio Bustorff, Guy Faulkner, Sam Newman, Chris Shipton, Mirsad Solakovic, Sammy Measom, Patrick Capaloff-Fowler, Leo Wherrett, Geir Madland, Adam Braddock, James Haynes, Neale Ricotti. Directed by Ben Mole

From time to time, we’ll watch an old movie and sigh to ourselves “they don’t make ‘em like that anymore.” On extremely rare occasions, we see a new movie that puts lie to that cliché.

It is 1940 and the British army is being pushed back into the channel, seeking to escape at Dunkirk and facing complete annihilation. A group of soldiers are captured in the countryside of France, including Danny Finnegan (Gittins), who happens to be a world champion boxer. The German commandant, who fancies himself a sportsman, recognizes Danny at once at determines to stage an exhibition match between Danny and one of his men, mainly using the bout as an opportunity to impress his superior officer who also happens to be a boxing fan. Danny is loathe to take part, but eventually relents when one of his buddies is brutally beaten by the man he’ll face in the ring.

In the meantime, the soldiers are aware that the clock is ticking. Soon, they’ll be transported to Germany and where escape will be extremely unlikely. The time to get away is now, with Danny’s bout providing a distraction that will allow them to get to Dunkirk before the entire British army is evacuated, but getting away won’t be so easy. They’ll need help, and there a pretty French farmgirl (Martin) with a grudge against the German commander is their only hope – but it will all be for naught if Danny is unable to stretch the fight out long enough for his mates to get away.

This is an interesting genre mash-up between a war movie that harkens back to some of the contemporaneous “stay calm and fight on” films of the postwar era, and the sports movie that could easily be called Rocky vs. the Nazis. Reading this on paper, I admit it sounds a bit ludicrous but writer-director Ben Mole makes it work.

Gittens, who is best known for a recurring role on the British series EastEnders, has an easy screen presence and carries this low-budget affair on his back, largely. Not all of the supporting cast fares as well, sadly; some accents are known to slip in and out of French and German accents, and a few give some fairly stiff line readings. Given the budget constraints, it’s unlikely there was much time for rehearsal and a likelihood that there is a fairly inexperienced cast behind Gittens.

At times the budget limitations are detrimental – the sound effects of guns firing sound like little pops rather than the bangs we’re used to in the movies, for example, but for the most part, Mole makes good use of what budget he has. I wish he’d taken the time to choreograph the boxing sequences a bit better; they are often unconvincing and one gets the sense that the actors are winging it a bit.

But don’t let that bother you, particularly if you like movies that appeal to the male of the species. This hits two sets of feels for the movie guy, who sometimes gets underserved these days in our zeal to make filmmaking more inclusive – which is a good thing, by the way, but still there’s a need for these types of movies as well. Keep an eye out for it on your favorite streaming service if your favorite guy is moping about the house and is in need of an infusion of testosterone, or if you’re someone’s favorite guy and you need it. In that case, treat yourself, by all means.

REASONS TO SEE: An interesting mash-up of genres.
REASONS TO AVOID: The boxing sequences occasionally are unconvincing.
FAMILY VALUES: There is both war and boxing violence.
TRIVIAL PURSUIT: The battle of Dunkirk took place between May 26 and June 4, 1940.
BEYOND THE THEATERS: Amazon, AppleTV, DirecTV, Fandango Now, Google Play, Vudu, YouTube
CRITICAL MASS: As of 9/16/20: Rotten Tomatoes: 96% positive reviews, Metacritic: 69/100
COMPARISON SHOPPING: Victory
FINAL RATING: 5.5/10
NEXT:
Pretending I’m a Superman: The Tony Hawk Videogame Story

Star Trek Beyond


"Someone's sitting in my chair."

“Someone’s sitting in my chair.”

(2016) Science Fiction (Paramount) Chris Pine, Zachary Quinto, Zoe Saldana, Simon Pegg, Karl Urban, Idris Elba, Sofia Boutella, John Cho, Anton Yelchin, Joe Taslim, Lydia Wilson, Deep Roy, Melissa Roxburgh, Anita Brown, Doug Jung, Danny Pudi, Kim Kold, Fraser Aitcheson, Matthew MacCaull, Emy Aneke, Shohreh Aghdashloo, Greg Grunberg, Fiona Vroom. Directed by Justin Lin

 

The Star Trek franchise turns 50 this year as next month marks the anniversary of the first appearance of Captain James T. Kirk and the U.S.S. Enterprise on the NBC network way back in 1966. The franchise has gone through six different television series including one animated version and a seventh set to debut in January, thirteen movies, dozens of fan-made videos and innumerable novels and fan-fic entries.

The latest film (and the first of the rebooted “alternate universe” Trek without J.J. Abrams in the director’s chair) finds the Enterprise in the middle of its five year mission and a bit of a malaise has set in among the crew, not the least of which is Captain Kirk (Pine) who is contemplating taking a promotion and a desk job. After a botched diplomatic mission left an ancient yet apparently unimportant artifact in the possession of the Federation starship, Kirk and crew pull into the gigantic Starbase Yorktown for some desperately needed R&R.

While the Enterprise is docked at the impressive space station, an unidentified ship comes from a nearby largely unexplored nebula. Its lone occupant, Kalara (Wilson) pleads for assistance, saying that her crew has been marooned on a planet inside the nebula after the ship was damaged. Kirk takes his ship into the Nebula, only to meet a foe that the pride of the Federation fleet has absolutely no defense again.

Separated on a hostile planet with much of the crew captured, the officers of the Enterprise have to figure out a way to warn the Starbase that Krall (Elba) a maniac with a serious mad on for the Federation is coming and has the might to bring the Yorktown to its knees. With the help of Jaylah (Boutella), an alien whose family was murdered by Krall, Chief Engineer Scott (Pegg), a badly wounded Spock (Quinto), his ex-girlfriend Uhura (Saldana), the irascible Dr. McCoy (Urban), plucky navigator Chekhov (Yelchin) and reliable Sulu (Cho) must utilize an ancient, outdated vessel and find a way to take down Krall before he takes down the Federation.

Justin Lin, who has directed several films in the Fast and Furious franchise, brings an action pedigree to the science fiction franchise and as you might expect, the emphasis here is more on the action. Surprisingly, however, there is a great deal of focus put on the various interpersonal relationships of the crew, particularly on the Spock-McCoy bromance which was a centerpiece of the original series but got little play in the reboot until now. Some of the best moments in the film involve the bickering between the two of them.

This is a fine-looking film and great care has been put into the sets and special effects. The Yorktown is particularly amazing, a space station that has a bit of an Escher vibe to it with amazing maglev trains and soaring skyscrapers. It’s what you’d expect from a cityscape four centuries from now. The question becomes why would something like that be built in space when there’s a perfectly good planet below it? It looks nifty as a space dock but would an entire city the size of Chicago be needed to support starships docking for repairs and resupplies?

But of course, the future is whatever you make of it and conventional logic can disappear in a flash of new technology. Speaking of technology, it’s put to good use here as the special effects are state of the art. There’s no doubt that you’ll dig that aspect of the film even if you enjoy nothing else. Quite frankly, there’s a lot more to enjoy too; the cast here is strong and getting Idris Elba as your lead villain is absolutely a coup. Elba is climbing up the ladder to what no doubt will be eventual A-list status and a slew of awards. Even unrecognizable under prosthetics and make-up, he still has the ability to command the screen in almost a Shakespearean turn here.

This isn’t the best movie in the Star Trek canon but it’s right up there. It’s good to see that someone besides J.J. Abrams and Nicholas Meyer can make a great Trek movie. Some blue blood Trekkers may grouse at the surfeit of action sequences (which has been true throughout the reboot) and even that it isn’t true Trek. I disagree. Much of the movie revolves around the concept of working together for a common goal versus waging war for the betterment of the species. It is a question we continue to struggle with even now. While this isn’t as thought-provoking as hardcore Trekkers may like, it is an extremely entertaining summer entertainment. Unfortunately, that hasn’t translated into box office dollars so it is likely that the franchise – with the next installment already greenlit and featuring the return of Chris Hemsworth as George Kirk – will take a different turn. And perhaps that’s for the best.

REASONS TO GO: The film emphasizes the interpersonal relationships of the crew. Some very cool special effects here. Idris Elba even under layers of make-up is one of the best actors today.
REASONS TO STAY: A couple of holes in logic appear here and there.
FAMILY VALUES: Plenty of violence and action, some a little bit gruesome.
TRIVIAL PURSUIT: This is the first Star Trek film or television show to be shot primarily outside of Hollywood. It was mainly shot in Vancouver and all of the interior sets were built from scratch.
CRITICAL MASS: As of 8/14/16: Rotten Tomatoes: 84% positive reviews. Metacritic: 68/100.
COMPARISON SHOPPING: Star Wars Episode VI: Return of the Jedi
FINAL RATING: 8/10
NEXT: The Little Prince

U-571


The crew of a WW2 sub has 99 problems and you're not one of them.

The crew of a WW2 sub has 99 problems and you’re not one of them.

(2000) War Thriller (Universal) Matthew McConaughey, Bill Paxton, Harvey Keitel, Jon Bon Jovi, Jake Weber, David Keith, Thomas Kretschmann, Jack Noseworthy, Tom Guiry, Will Estes, Terrence “T.C.” Carson, Erik Palladino, Dave Power, Derk Cheetwood, Matthew Settle, Rebecca Tilney, Burnell Tucker, Robin Askwith, Carsten Voigt. Directed by Jonathan Mostow

After the success of Saving Private Ryan, movies about the Second World War began to creep into the studio release schedules in the first years of the new millennium, with this film and Pearl Harbor (among others) both hoping to recapture the magic of the Steven Spielberg classic.

This time, the focus is on the submarine service of the U.S. Navy. Lt. Tyler (McConaughey) is the very competent exec of the S-33, one of the Navy’s older rustbuckets. He is chafing for his own command, but hasn’t been able to get the recommendation of his commanding officer (Bill Paxton), so he continues to be second in command as the battle in the Atlantic shipping lanes continues to go badly for the Allies. German U-Boats continue to sink allied ships at a terrifying rate and the navy is virtually powerless to break their codes.

However, that’s about to change. During a battle at sea, a U-boat is left crippled and sends a radio signal to Berlin. Allied intelligence manages to figure out what happened (don’t ask how, since they supposedly don’t know German codes) and have sent a taciturn intelligence officer, Lt. Hirsch (Weber) and a gung-ho Marine (Keith) to lead a mission to rendezvous with the crippled German sub posing as its supply vessel and steal the Enigma decoder and codebook. Along with them they bring Tyler, his respected by the men chief (Keitel) and a group of seamen to help take over the sub.

After a bloody battle, they manage to secure the German U-boat and get the decoder, when the REAL supply boat arrives and sinks the American submarine. The survivors are left aboard a vessel that’s unfamiliar and in which everything is written in a language they can’t read. To make matters worse, the U-boat is still crippled (although they manage to make some jury-rigged repairs) and is engaged in a cat-and-mouse game with a German destroyer.

Mostow manages to capture the claustrophobic feel of submarine service of the time, and the amazing stress that comes with avoiding depth charges, enemy torpedoes and the pressure of the deep. The sacrifice and bravery of the men and the coming of age of Tyler are the center of the storyline. Along the way, you get a pretty good idea of what terror a depth-charge barrage can be.

In the early years of his career McConaughey was a bit wooden more often than not but here he plays the heroic role with a certain amount of stoicism. Keitel plays the cliché gruff ole seadog pretty well, considering it’s not the kind of role he’s known for. But then nobody really expects the acting to be this film’s strong point. It’s the stomach-knotting tension that makes or breaks U-571 and there are times when this movie makes you want to leap out of your skin. However, they are unable to maintain the atmosphere consistently.

The reality of submarine service during the war, as nasty as this movie depicts it, was way more intense. If you are looking for a more realistic portrayal, try Wolfgang Petersen’s Das Boot, which is THE best submarine movie ever done. If that doesn’t keep you on the edge of your seat, nothing will.

WHY RENT THIS: Realistic sub battles. A good sense of tension. Keitel makes a terrific seadog.

WHY RENT SOMETHING ELSE: Inconsistent. McConaughey was a bit too laid back.

FAMILY MATTERS: A pretty goodly amount of violence and some scenes of extreme tension and fear.

TRIVIAL PURSUITS: The Enigma machine depicted here wasn’t a prop; it was an actual Enigma that was loaned to the production by a collector.

NOTABLE HOME VIDEO FEATURES: There are some newsreel and archived material which are used to explain what inspired the making of the film. The Blu-Ray version makes this available in the U-Control Picture-in-Picture function.

BOX OFFICE PERFORMANCE: $127.7M on a $62M production budget.

FINAL RATING: 6.5/10

NEXT: Thor: The Dark World