This is nowhere near as good as the excellent, methodical original but it is still reasonably enjoyable. Also, as good as it was, the original still did not avoid plot contrivances, and this sequel has even more, most notably a sequence that is set off by totally idiotic behaviour from a character who seems to behave this way only in order to manufacture tension and then cross cut it with two other sequences happening elsewhere for added effect.
If films are judged according to how often and how well they hit their apparent targets (and they should), then Dunkirk is near flawless. Nolan has explained that he wanted to portray the rescue mission of allied troops from France at the beginning of WWII not as a traditional war film but as a thriller, a tale of suspense and survival, and he has managed to do exactly that. Even for a film telling a well known story, this…
Oh dear, this is not very good is it? I haven’t read Ernest Cline’s 2011 hit book on which this is based but it is hard to imagine that it’s any less hackneyed than the film. The book is supposed to be a fan letter to ’80s pop culture, set in a world where icons from movies, games and TV became real. But the film, though at times technically pretty impressive (of course it is, come on its Spielberg), is…