By Peter Kougias
Hometown Weekly Intern
Christopher Nolan’s latest film, “Dunkirk,” is a nonstop ride through the pits of hell, choking your breath until its epic finale.
Set during World War II, the film depicts the grueling events of the Dunkirk evacuation. Split into three segments (The Mole, The Sea, The Air), the story sways back and forth through a non-linear structure while staying grounded and maintaining a precise control of the plot’s flow. While Tom Hardy (“Mad Max: Fury Road”) and Harry Styles (One Direction) shined in their rugged roles, their A-list facades vanished into their heroic characters.
Filmed on 70mm and presented in IMAX, the massive images swept the audience straight into the battle. Nolan’s vision is a hands-on tale depicting the horror and stress of war right smack in his audience’s faces. The film rides off with tension similar to the opening scene of “Saving Private Ryan,” but stretches it over the entire film. However, unlike “Private Ryan,” “Dunkirk” lacks the excessive gore and dialogue, proving a clear concept conquers gratuitous effects.
Coming off the “Dark Knight” trilogy, Nolan’s strong directional grasp drives an adrenaline rush from start to finish. Without having any knowledge of the battle, the story is quite apparent. The allied soldiers are trapped on a beach surrounded by enemy forces. This isn’t a dull history lesson, but more of an interaction. Witnessing the soldiers’ survival is a lesson in itself; these men sacrificed their lives to protect the world from a prophetic collapse.
Thanks to Hans Zimmer’s hypnotic score, the anxiety of time is thrilled by the use of clock tickings, leaving audiences on the edge of their seats. If they weren’t there already, that is - I don’t know how they sat still through the movie to begin with.
While hands covered eyes for impacts and cheers rang as the credits rolled, everybody in the theater left exhausted. This is a film that needs to be seen in the theaters. Home screens will only defect the overall atmosphere and enjoyment of the film.
