Dunkirk Christopher Nolan Project (July 21, 2017)

[Blzer]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

Active RT critics/publications so far tweeting about the film (review embargo doesn't go up until the 17th, so for now this is all we can get):

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CRITICS (ROTTEN TOMATOES):

Active RT critics/publications so far:

Top Critics

https://twitter.com/jakecoyleAP/status/884462016903213057

Jake Coyle @jakecoyleAP
FWIW I thought DUNKIRK was heads above most everything else this year. Pure, maximum cinema. All sea and sky and Rylance.

https://twitter.com/ChrisNashawaty/status/885186270388944898

chris nashawaty @ChrisNashawaty
I see the social embargo on DUNKIRK lifted, so I'll say this before @EW review on Mon: It's great -- stunning, tense, & totally immersive.

https://twitter.com/StephenWhitty/status/884459037554872321

Stephen Whitty @StephenWhitty
Can't wait to review "Dunkirk,' a mix of modern storytelling (interwoven timeframes), classic filmmaking (real Spitfire dogfights) #Dunkirk (Newark Star-Ledger)

https://twitter.com/TimeOutFilm/status/884471602947272704

Time Out Film@TimeOutFilm
We've seen DUNKIRK. It's extraordinary - a harrowing, unusual war film, without heros or easy story notes. Staggering pics. Unnerving score.

https://twitter.com/markhdaniell/status/884531403005800448

Mark Daniell @markhdaniell
.@dunkirkmovie is one of the best films of any year. An edge-of-the-seat thriller and a technical masterpiece. Best use of IMAX I've seen. (Toronto Sun)

https://twitter.com/szacharek/status/885974611816570880

Stephanie Zacharek @szacharek
For me it's the only Nolan film

Others

https://twitter.com/Metro_Ents/statu...95572090204161

Metro Entertainment @Metro_Ents
So we've seen Dunkirk and we can confirm it is brilliant. Nolan never lets the suspense falter - it's harrowing and unusual and beautiful.

https://twitter.com/eeisenberg/status/8 ... 4373315584

(((Eric Eisenberg))) @eeisenberg
Dunkirk is thrilling, beautiful & a must in 70mm IMAX - but it's also hard to ignore that it has zero distinctive personalities/characters. (CinemaBlend)

https://twitter.com/MaraReinstein/st...67449297084416

Mara Reinstein @MaraReinstein
My body is out the #Dunkirk screening but not my mind. What a cinematic achievement from Christopher Nolan. (Ps @Harry_Styles did good!)

https://twitter.com/kalyncorrigan/st...65565309349888

Kalyn Corrigan @kalyncorrigan
DUNKIRK is a ******* spectacle. a monumental movie that hits you on a personal level. nolan beautifully depicts the tragedy of no escape (BMD)

https://twitter.com/DrewTailored/sta...64412286828544

Drew Taylor @DrewTailored
Christopher Nolan's #Dunkirk is a rousing return to form -- thrilling, brutal, and formally adventurous. Full review on @ThePlaylist soon.

https://twitter.com/Joannalangfield/...81755434688512

Joanna Langfield @Joannalangfield
Still shaking from Christopher Nolan's @dunkirkmovie. A stunner: creatively, humanely, morally. & @Harry_Styles is great as is entire cast.

https://twitter.com/ChristophHooton/...19063284924416

Christopher Hooton @ChristophHooton
Just saw Dunkirk. An absolute force. Nolan at the top of his game in the genre. I say this as someone who hated Inception. (The Independent)

https://twitter.com/chriswasser/stat...92412329185282

Chris Wasser @chriswasser
#Dunkirk is an astonishing piece of work. Bold. Breathtaking. Intense. A phenomenal war film. And, yes, Harry Styles can act. A triumph. The Herald (Ireland)

https://twitter.com/digitalspyfilm/s...20720454443008

Digital Spy Film @digitalspyfilm
We've seen #Dunkirk and we are reeling. And yes #HarryStyles is excellent (as is everyone). Review on Monday.

https://twitter.com/Terri_White/stat...84130969157632

Terri White @Terri_White
Completely staggered by Dunkirk. Relentless, harrowing, captivating and the scoring...well, yes, golly (Empire)

https://twitter.com/NickdeSemlyen/st...80326483009536

Nick de Semlyen @NickdeSemlyen
Saw Dunkirk first thing this morning. Still recovering. It's Inception meets The Longest Day. (Empire)

https://twitter.com/davidehrlich/sta...18706706116609

david ehrlich @davidehrlich
Twitter is underselling DUNKIRK.

CELEBRITIES:

https://twitter.com/TheVampsCon/stat...25961639514113

Connor Ball @TheVampsCon
Had the pleasure of seeing Dunkirk last night. Such an amazing insight into how it actually was. Massive respect to the cast and director.

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There are dozens of others, but not with RT. Still good to see lots of great positive reactions.

[Blzer]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

Still in the theater, through the credits, on my flip phone. Going to have to sit on this one for a while. I am itching to re-watch it again on 70mm IMAX Thursday. I think this film requires it. So real, so old school. Nolan nailed exactly what he wanted to bring out. Very narrow in scope, but epic in tone. I do think an "extended cut" would be welcomed (though doesn't exist), even if used only for character development. I will accept Nolan's aim at focusing on the evacuation only, though. This is not a summer blockbuster at all, but it is a nice break from the norm, and IMO is a best picture contender. Hans Zimmer's score is my favorite feature of the film, and I think most will agree.

[thaima1shu]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

Great to hear. Really looking forward to seeing this on IMAX Friday.

[Blzer]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

Okay, I'm going to try again.

Let me begin by saying that no reviewer was lying when they said see this in 70mm IMAX (full disclosure, I saw this on a regular screen). In my opinion, it necessitates it. I can just "tell" from what I saw. The aerial shots alone would provide good reasoning for it, but the sound that those theaters provide with the big picture in front of you will captivate you exactly the right way.

I remember a critic's tweet stating they could easily see flipping to TMC and seeing this at 2:00 AM even decades ago, and I really gel with that vibe. This isn't a social kind of film, and it certainly isn't popcorn entertainment. Not a summer blockbuster at all. Nolan really broke a lot of traditional film conventions with this, and I think that exact kind of ambition is what makes this movie work for a more general audience. I somewhat think audience members need to know what they're getting into beforehand to be accepting of that fact, but once they are I think they will be just fine.

On a technical level, I think this is Nolan's best yet. The Prestige still might get higher honors simply because of the more demanding writing that is involved, but given what Nolan intended to do, this nearly screams "perfection." Did he try and go for an R-rating? No. Did that matter? Not even close. Did he try and provide massive amounts of character development? No. Did that matter? Depends on who you talk to. I could honestly say that if there were two cuts of this film—an extended cut that develops the characters and this one—you could give us the option and we would find the one we enjoy more depending on what we're looking for. Did he look to vilify the Germans to the point of controversy? No. Did that matter? It didn't, but only one part does stick out for me (the "one flaw" that Nolan often has trouble with in his writing) and I'll get back to that in a moment.

"Harrowing" is easily my favorite word to describe Dunkirk. This is a survival film, and that's all it is. He put us on the beach, on the sea, and in the air. He gave the characters a want and will to live with an impending threat for which we understand its consequence, without need of showing thousands of deaths or lots of blood. When one moment of attempted survival ends, another one begins without warning. That doesn't mean the film is relentless action, but it certainly is relentless tension, if for no other reason than Hans Zimmer's score. I'm telling you right now, his score is my favorite part of the film. You might not realize it when watching it, but if you are recalled that again you will likely agree. It's actually mostly a quiet kind of score, and it is not something that I feel like I could be rolling down the street with. In fact, if I did, I'd probably be looking over my shoulder waiting for the next person to come murder me. It is frightening and works with the film so very well.

Nolan has had a lot of trouble doing "show, not tell" in his past films. This time he has learned a lot, barely letting the actors talk haha (acting was fine all around, by the way... not much to say about it honestly, as it's not the film's high point). I did not feel the presence of the surrounding enemies, though. If the film didn't tell us about it, I probably wouldn't have felt the pressure of getting off that beach sooner than later. Hearing the planes incoming was always scary of course, but as we only had the British perspective and a week-long timeline at most, there simply wasn't a chance of feeling time cave in on them. This to me is this film's only real flaw.

That being said, the only real limitation that holds this film back is that it's based in reality, which means that we are already aware of the outcome. I think for this particular story it's fine, because it's not one specific moment that lets us breathe again... so letting it play out the way that it did is okay with me. I do not think this will go over with people who come in completely uneducated about Dunkirk. I made a mistake in stating that I wanted this film to educate me on the evacuation story. I think I'd rather have learned about it first and then seen the film, kind of like seeing United 93 after having lived 9/11 (not totally, but I was at least cognizant of all that transpired). That doesn't mean to research the film itself, but rather just the historical event.

I do hope that Nolan goes back to fictional work after this. Here was an awesome deviation from the norm that he chose to do, and he went out in grand style. I could have used a longer film with fleshed out character development, but this film also works as well especially in the month of July. I see this receiving many Oscar nominations such as score, editing, cinematography, visual effects, etc... I do not see any acting or writing awards... and yes, I see a director nomination as well. If the academy believes some of those earn him victories, then *** **** it give him his Best Picture Oscar as well.

I can't really yet rank this film with his other films, because it's just so different. I don't see too many of the Inception parallels here. Every film of his outside of Insomnia either does nonlinear or intertwining storytelling, but this one does it without the nature of the script dictating it as a necessity. It's just playing things out as they do. Survive. So to revisit, I believe this may be his best work yet, even if I don't know if it's my favorite of his. I really just want to put this in another category from other films entirely, in which case it's my favorite of "that kind of film" haha.

My heart is still pounding from this film. I simply cannot wait to see this in 70mm IMAX on Thursday.

EDIT: I've already been asked by some if I call this film a masterpiece. No. I think a film that leaves out an integral part of storytelling (plot development) is automatically disqualified; keep in mind I understand this was Nolan's intent from the beginning.

While I could talk about this film at end's length and think about it all night (look what time it is, it hasn't escaped my mind yet... I haven't even had food in twelve hours) and I'm itching to see it again immediately, this is the only Nolan film besides Insomnia that leaves me without lingering questions based on the complexity of the screenplay. Its editing allows you to want to rewatch this thing because I know you couldn't take it all in the first time, but I don't think it has enough layers to qualify it as one of the greats.

Regardless, it is certainly the most unique telling of World War II you may ever see, and is a completely different theatrical experience than you've ever had before. Also remember, if Nolan gets his Best Director award among the technical awards (and Zimmer's score), then Best Picture is all but a possibility that I would be okay with.

[Blzer]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

Okay, Blzer-like post ahead. I'm going to spoiler-tag everything I can to make it look smaller than it actually is. Some parts may actually contain spoilers though (specifically the third tag; second tag only has story-structure spoilers), so I recommend you don't read them until after you see the film.

Spoiler

What I stated in my review is that in a perfect world I kind of wish Nolan filmed a 2+ hour version, and had two cuts to it: the version we see now, and an extended version with character development. You get to choose your cut of the film you'd like to see. Or, at least, have that kind of thing on Blu-ray.

Ultimately, I'd say this much: while it's cool to break the mold every once in a while and have a film that leaves out that "fluff," it does go to show there is a reason why that "fluff" tends to exist in most movies, including United 93 (at least for the plane passengers). Dunkirk is fine being the exception, but not the rule.

As fine as it is for me to say that Dunkirk could either stand as it is or be another longer Nolan film (as many as 147 minutes, or whatever IMAX film allows for) where what we see in the film's current state is the latter end of it but shown chronologically (and thus would perhaps create a whole new set of opinions), I didn't bother thinking about other films doing what Nolan did with Dunkirk. When I do, it becomes a bit bothersome.

I referenced United 93. I replayed that film back in my head, and cut out any scenes that show any sign of interaction that is not literally focused on the film's story. No background information given, no side conversations about what people plan on doing the next day, no mentioning how their food is or what the weather is like, nothing. That being said, most of the ATC scenes would pretty much remain intact, but the scenes on UA93 would be dramatically reduced. The first fifteen minutes of the movie would pretty much be completely cut out, and the last act would take away the saddest scene of individuals calling their families and tell them that they love them. Let's also remove the ending text crawl. This cut of United 93 would be on-the-nose, factual, relentless and tension-ridden, but it would also be heartless.

I'm not saying Dunkirk is heartless, but many critics are trying to find its heart from this new species, without a stethoscope, and some simply state they only know there is a heart because it is living, but can't seem to place it. "Distant" is a word that I have seen critics use, and I can agree with that adjective. I see why they say this, and even though I for one found the heart (mostly because of Nolan's interviews prior to the film so I understood what he was going for), part of me does wish that Nolan did make a version of this that does introduce everything about what we see on screen thereafter, even if there were two cuts of the film. It doesn't need to be expository, it just needs to flesh items out.

That being said, Nolan never intended for that, and I am okay with that. So his execution of the film was flawless (the lack of character/plot development is not a flaw of this film), but some people were looking for a different film. Myself? I can take either way, but I can't do it often. Again, this is the exception. Let's say Hacksaw Ridge took out the first half of the film. I think I would still like it and I could sympathize, etc... but if Dunkirk came out after that, we would have exception on top of exception. Too many of these kinds of films would dilute the effect that they are going for. Baby Driver is original for syncing the music with the action, but if we have a lot of movies like that then Baby Driver is no longer unique or original.

So I still applaud what Nolan went for, I do. However, I sit back and ask myself: "Can this be a norm? Can I take a lot of other movies that I like which has character development, strip it out, and enjoy it as much? Could have Dunkirk spent a little more time with characters and have the same exact effect, possibly even winning over more audiences?" I think I can answer all of these questions now, and it does leave this film in the exact state that we see it: there is nothing wrong with anybody who doesn't like this film for what it is, including YT reviewers like Jeremy Jahns. He wanted something that Nolan didn't. And that is fine.

If this doesn't win over the Academy during Oscar season because of what is lacking, that too is fine. Do I want it to win? Hell yes, where it is deserved... maybe even Best Picture. But because it is missing overall plot and character development, I am not throwing around the word "masterpiece" for this film. But it is a rinky-dink time at the cinema, and I for one have been itching to see it again. I can't wait until later tonight, and I really can't wait until all of you see this incredible work that Nolan has crafted.

Spoiler

If you walked into this movie not knowing there are intertwining stories and timelines, there is a certain moment in the film that gets you there where you say, "Ahh, now I see what you're doing Nolan!" I don't think it confuses you; quite the contrary, I think it makes things clear. Then again, you all already know that's how they're telling it, so there's nothing for you to "get." I'm referring to the general uninformed public.

One thing that Jahns says, which I agree with, is when you do have this narrative that may go back or forward in time and there are multiple attacks on boats/ships or dogfights, you will sometimes sit there uncertain about which "one" it is that you're watching. Some of them feel unique enough that you will just know which is which, but I'm waiting for my second viewing to make all of it clear for myself. I do not have ADHD.

I thought it made the movie very interesting, and while this was not required of the film by its nature (whereas Interstellar legitimately ****s with time as a dimension and Inception almost the same way), I do think it was required by its story. You'll probably understand what I mean when you see it. The timeline/narrative jumping is not a contrivance nor do I think it's a hindrance. I think it's an added bonus. The Prestige has a much more confusing timeline than this film, and it's also one of the last things people complain about in that film.

It happens often though, and just when you might be invested in one moment they will jump away from it, but they'll get back to it in a few minutes or less. The score doesn't necessarily change from narrative to narrative, making it all part of the same "scene." You all know how Nolan already does this, and in my opinion he and Lee Smith are masters at this craft. Mark my words that you all will appreciate the order of sequences that occur in this film and the jumping around to tell the story.

Spoiler

Okay, I'm going to hit the "I didn't care about any characters" from another angle (possible spoilers).

Many reviewers, like the ones who would state my above quote, acknowledge that Nolan's vision puts you onto the beach with the soldiers as if you are one of them. There are 400,000 soldiers. Tell me, critics... does Tommy know all of the men that are on that beach? Does he know any of them? Did Dawson know him? Did Dawson know any of the soldiers on that beach, or the shivering soldier, or the pilot he rescued despite the fact no chute deployed?

What the critics don't realize (and I didn't bother to realize for myself until now) is that these men call each other brothers. They don't have to be related and they don't have to be acquaintances. They just have to have a common goal, and that they did. Why was Tommy defending Gibson inside of the boat when he never even said a word to the guy? Maybe it's because Gibson offered Tommy water; maybe it's because Gibson saved Tommy's life when he was drowning. Why did Gibson do those things? He has no reason to, except for the fact that he cared. Why did he care? Like Tommy, Gibson was simply trying to survive.

We as audience members are also soldiers on that beach. We are holding our breaths, covering our ears, and want to reach into the screen and hang on to one of the people there so they aren't overtaken by the enemy forces. They would die for their fellow comrades, and they will do it without a second's hesitation. No learning names, no delivering messages, no earning trust. Time was against them and they acted on it, all because they cared.

If you as an audience member are unable to care about these people because they didn't mention their daughter and their cat, and you can't see the point as to why they can care without knowing those instances, then Nolan failed to captivate you the way that he intended, and you missed the mark on what he attempted to convey for you. To quote Scarlett Johansson in The Prestige: "It's inhuman to be so cold."

And I said all of this without ever once mentioning Bolton, Farrier, or every other civilian who came to rescue those men.

Also a 70mm IMAX tease for ya'll:

[JazzMan]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)



Well, this looks pretty good.

Sent from my SM-G935V using Tapatalk

[jasontoddwhitt]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

My problem is the closest IMAX is nearly two hours away....which sucks. And it's not doing the 70mm showing either, which doubly sucks. Closest 70mm showing is nearly four hours away.

I love you Nolan....but not that much.

[Blzer]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

In the theater again, during the credits, on the flip phone. Not sure if it was because of a 70mm IMAX viewing or a second viewing or both, but I felt so much more emotionally impacted this time around than last time. I'm sealing a Best Picture nom for this one, for sure.

[Mike Lowe]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

I went and saw this last night on IMAX, and wow, just wow. The music alone made it worth it, but obviously most won't be as enthralled with the audio as much as me (write music as a hobby) and will find far more detail to obsess over--there's lots.

Spoiler

I loved the minimalist dialogue, I love that you never see the enemy really, I love that you're never told it's WWII, etc. None of that is spoiler material, but just to be safe, I protected it.

I loved it. It was so stressful and scary, and you'll never feel like your job is stressful again!

[seasprite]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

Pretty excited to go see this here locally at the Space and Rocket Center who has a huge IMAX theatre

[thaima1shu]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

Saw this on IMAX last night. If you have the opportunity to do so on a real IMAX screen, you have to do it. You're doing yourself a disservice if you don't.

The score and the sound effects are the major standouts for me. It did such a fantastic job of enhancing the tension. The sounds of the planes and the guns were terrifyingly loud.

[ExtremeGamer]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

Un-****ing-believable. Walked out at the end drenched in sweat. Amazing experience.


Sent from my iPhone using Operation Sports

[Stormyhog]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

Spotted this & thought I'd share it. <iframe width="560" height="315" src="https://www.youtube.com/embed/XwaJcZnR7us" frameborder="0" allowfullscreen></iframe>

[Armor and Sword]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

Saw this on IMAX and it was an incredible experience.

One of the best WWII films ever. No doubt. It just does not stop from start to finish. The sounds of the planes roaring were just jaw dropping.

[Blzer]

Re: Dunkirk Christopher Nolan Project (July 21, 2017)

https://twitter.com/TheInSneider/sta...36862139645952

Jeff Sneider @TheInSneider
BREAKING: Christopher Nolan's DUNKIRK returning to theaters on Dec. 1 with a re-release in 50 IMAX/70mm locations in 34 domestic markets, including NY, LA, CHI, SF, BOS, PHI, ATL, DAL, TOR and Washington DC.