Review: In ‘Darkest Hour,’ a resplendent Gary Oldman is the highlight, but not its sole strength

The year is 1940. Hitler’s Nazi regime is forging a merciless trail across Europe. France is under siege. England is backed into a corner both metaphorically and, in the case of the 300,000 British soldiers stranded on the beaches of Dunkirk, literally.

If you watched Christopher Nolan’s “Dunkirk” over the summer, you know the story and you know what’s at stake for these soldiers. But what you may not know about is the chaos unfolding at Parliament. Prime Minister Neville Chamberlain has been pushed out for a replacement much less suitable for the office, not to mention at wartime – the easy-to-scrutinize Winston Churchill.

Churchill may be commonly discussed in high school textbooks, and cited in epigraphs of WWII videogames, but as told in “Darkest Hour,” he was just a benchwarmer until peace negotiations could begin. Continue reading →

Review: With Dunkirk, Nolan matures as a director and visionary

When it was announced that Christopher Nolan’s follow-up to the polarizing space epic Interstellar would be a much more grounded film rooted in the history, it was a bit of a surprise.

Here was a director who has made a career (and, generally, huge box office returns) on the fantastical – imaginative works grand in vision and scope – looking to bring to life a much more straightforward premise by comparison.

But Nolan is also known for taking risks, and as it turns out, Dunkirk is no different. It’s a reinvigoration of the war genre, and its most innovative offering in decades.

There’s certain elements you can expect every time you go to see a Nolan film: a certain visual aesthetic that borders on broody without ever fully entering Kubrick territory, a pounding score, iconic imagery and emotional heft. Continue reading →