FILM REVIEW By Chris McCoy of people. There is no lead actor, per se, in this film. Nolan’s screenplay follows three groups: Tommy and his mysterious comrade Gibson, who repeatedly try and fail to get off the beach; the crew of the Moonstone, a modest pleasure vessel captained by Mr. Dawson (Mark Rylance) who volunteered to ferry soldiers across the channel; and a flight of Spitfires, led by Tom Hardy, whose numbers dwindle as they try to keep the Luftwaffe busy while the evacuation proceeds. The three storylines proceed linearly but at radically different paces until they all come together for a finale above, on, and below the English Channel. Aside from Rylance’s warm humanity and Cillian Murphy as a shivering PTSD case, the characterization is paper thin, but the
plotting and editing is as tight as is expected from Nolan. From balletic dogfight sequences shot with IMAX cameras and real airplanes, to the horror inside a capsizing troop ship, the images he conjures are among the best of his career. There are also moments of almost accidental political relevance, such as when a squad of soldiers in a leaky boat has a miniature version of the Brexit debate, only with guns. Nolan’s vision of war is not sweeping, heroic action and sacrifice. It’s fear, foggy goggles, and ratty comms. The victors are the ones who make it home alive. Dunkirk Now playing Multiple locations
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