blame space
Banned
there was a ton of old people in my showing. I hope they liked it. it was cute, they were all standing together and talking about it afterwards. remember that?
Also yeah this made no sense to me either, and I couldn't even tell what Mr. Something (thanks dialog mixing) said to the boys when they left thanks to the dialog mixing.Here's my one probably dumb question that was bothering me at the end.
When the navy are requisitioning small boats, we see them put their own sailors and captains on them and so the one we follow has to run off on its own so that he can captain his own boat. So, why when the small boats show up at Dunkirk are every single one of the people captaining the boats civilians?
Just got back from an imax showing. Man, nolan's 3 most recent movies are his worst
A big step up from tdkr and better than interstellar by default just for not having that ending though
Nolan rectified one of his biggest recent problems of having cold, distant characters you don't care about by having like 5 minutes of dialog in the entire movie! And what was there was horribly mixed so it was hard to hear even during peacetime.
Also the trailer didn't "spoil" it because it was a real historical event but the trailer also gave away almost all of the dialog and pretty much every single setpiece so it was weird watching it.
The time line also jumps around a bit and it was done kind of poorly honestly. That aspect combined with a lot of repeat stuff from the trailers made the 94 runtime seem very stretched out. The dogfighting scene was also done kind of poorly imo. Don't get me wrong, it felt real and all that, but it was hard to follow. The time skipping amplified it
That being said, sound design was good and some shots were really beautiful. In terms of recent critically acclaimed war movies though I definitely preferred Hacksaw Ridge.
Spoiler questionsdid Tom Hardy not have a chute or was his window defective like his copilot? Also when the main guy's boat is getting shot up, how did it keep getting shot at from well in the water? Who the hell was shooting at them from that range? Or was it just weird editing and they plugged up the holes pretty early on and then later had to abandon ship
Edit: legitimately surprised to see this much praise for it.
My favorite drama/thriller of the year so far is still easily It Comes At Night.
And seeing the second blade runner 2049 trailer for the first time (in imax!) was almost as rewarding as Dunkirk. Villeneueve gonna put in work
Most of the aerial stuff was practical right? They had remote control planes and drones I remember reading? It felt so fucking real!! OMG!!
I don't care if you disagree with me but you could at least say why instead of quoting my wall of text and postint a low effort reaction gif.
just got back
damn what a masterpiece.
Spoiler questionsdid Tom Hardy not have a chute or was his window defective like his copilot? Also when the main guy's boat is getting shot up, how did it keep getting shot at from well in the water? Who the hell was shooting at them from that range? Or was it just weird editing and they plugged up the holes pretty early on and then later had to abandon ship
If you guys want a fucking great depiction of Dunkirk, you needn't look further than Joe Wright's Atonement.
https://youtu.be/y0de2hZ3dsA
Yeah, I was wondering about this, too. I thought the Germans didn't even know that there were people hiding in there? I get that it was target practice at first, but after awhile they were clearly trying to shoot the soldiers inside.
I guess the screaming and shouting and banging from inside the boat kinda gave them away.
Yeah the shouting gave it away and I wasn't confused about that, I was confused at how the Germans were shooting at them for as long as they were.I guess the screaming and shouting and banging from inside the boat kinda gave them away.
WhenRylance tells the blonde pilot that "they knew where you were," who was "they?" Who was he pointing to?
I don't care if you disagree with me but you could at least say why instead of quoting my wall of text and postint a low effort reaction gif.
I never even said I didn't like the movie, I just think it's not as good as it could have been, especially from the guy who brought us Memento (which was a much better example of time-altering editing) and The Prestige. It is his best movie since Inception though.
"they" are the soldiers whom were witnessing the dog-fighting in the sky before he got shot down.
Ah. Thanks.
----
Anybody got a favorite shot?
Mine isAh. Thanks.
----
Anybody got a favorite shot?was pretty glorious in IMAX. That's like a North by Northwest plane chase "this is what film can do" type of shot.the plane gliding against the backdrop of the town
Ah. Thanks.
----
Anybody got a favorite shot?was pretty glorious in IMAX. That's like a North by Northwest plane chase "this is what film can do" type of shot.the plane gliding against the backdrop of the town
Yep, will be the best film the rest of the year, no doubt.
The navy people were definitely in the civilian boats.Also yeah this made no sense to me either, and I couldn't even tell what Mr. Something (thanks dialog mixing) said to the boys when they left thanks to the dialog mixing.
"Take me home"I have tons of dumb questions I could ask. Here's a couple
Whenthey're pulling up the people covered in oil onto the Moon-something boat, one kid lands on his back and says a quick line - what is it? Take me home or something? IDK
WhenRylance tells the blonde pilot that "they knew where you were," who was "they?" Who was he pointing to?
lmao
The people on his boat who saw him in the dogfight against the fighters and bomber.
You and everybody else. Movie is great.
Sorry, what?
The movie is dripping in soul. I teared up half a dozen times throughout.
I bought the atonement book after watching the movie. It's pretty amazing
Now. Would people go ga-ga over Dunkirk if they didnt know it was a CN movie?
I was bored watching this - quite often I was like this is dull.
Huh? I never said it was hard to follow, I was referring to the dogfighting for that. I just think the time skipping was poorly done and jarring.You claim to have a good understanding of Memento (which is incredibly difficult to follow until you piece all the pieces together in the last 10 minutes) and Inception (which has it's own challenges) but you're troubled with three very simple stories, woven together a few times throughout a 90 minute war film?
Three stories.
Land. It takes place over 7 days.
Water. It takes place of 24 hours.
Air. It takes place over 60 minutes.
Like, it's so simplistic...I cant quite fathom why it was hard to follow. Everytime your saw Tom Hardy in a plane the story was picking up from the last time you saw Tom Hardy in a plane.
Every time you saw you Harry Styles you were picking up from where you left off with Harry Styles.EXCEPT when he was aboard the boat for the 10 minutes of the film...
Land takes place over 7 days. Day 1 is the day they arrive in Dunkirk and Day 7 is the day they arrive in Woking.
This is a great analysis and I pretty much agree 100%. Outside of the scene with the flooding grounded ship and the french wanting to board, we never really see any range of emotions.I can't believe I'm gonna say this about the director that brought us The Prestige of all things, but I'm starting to think that Nolan really isn't all that meticulous or obsessive a filmmaker as some of his contemporaries.
I actually really enjoyed Dunkirk, but it often felt... bare for lack of a better word.
The beach segment in particular felt strangely bare-bones and simplistic, like there weren't enough elements or creative ways of showing the horrors of the situation. Like, soldiers in their line are all pretty clearly exhausted, and wanting to get out, but their individual emotions never really ebb and flow beyond that. Like how are these guys getting food? Were they running out of it? Were they starving? Was it cold there? It didn't seem like they had much shelter/warmth - were there soldiers freezing to death? The nazis were closing in, but it never really felt like they were surrounded. I understand Nolan wanted to show it from specific perspectives, which was absolutely the right choice, but he seemed to do it to an unnecessary degree, like he'd created a little rule for himself: "No ever seeing an actual nazi." Why? Wouldn't it be effective seeing these little dots of nazis off in the distance closing in slowly? At the start of the film they're much further away, and later on you can see their lines have drawn nearer? Like a tidal wave they can't outrun? This is a survival film. Adding layers of problems slowly choking these characters out with a vice grip seems vital to me.
What are these soldiers doing on a day to day basis to keep themselves busy/not go insane? Are some of them going insane? I wanted to see the starkly different experiences and reactions to how these people are dealing with the extreme situation they're thrust into. You compare it to Cameron's Titanic - some people are calm and collected, some are panicked messes, some are suicidal, some are content with just sitting and waiting for their fate, some push back against the structured order they're being bureaucratically forced into, knowing that order isn't going to save their lives now. Like why didn't anyone challenge Branagh at any point? "We have just as much right to be on this boat as anyone else! You could fit plenty more people on the boat!" When the bombs start dropping, why are they literally all just ducking? Surely a heap of them on the pier would have just jumped off into the ocean, preferring to freeze to death than wait to be blown to bits. The moment where the guy drops his equipment and strolls into the ocean, attempting to fucking swim back home was great, harrowing stuff. It's the kind of logical insanity these guys would be going through. The film needed more of this. This plethora of human reaction to an insane situation is, surely, the meat and potatoes of a film like this. Not the spectacle itself - the humans and their immediate struggles.
I'm reminded of the scene from Atonement set on Dunkirk, and while the two films aren't trying to do the same thing with the event, I can't help but compare the far more detailed and rich variety of human experience that Joe Wright manages to communicate in just one scene that Nolan can't quite match in his entire film. This is just a visual example and doesn't really speak to the heart of what I'm talking about, but it's a good entry point into what I'm saying:
Basically, if the beach soldiers were analogous to a character, that character was pretty one-note: tired, scared and uniform. That character should have been a gradient of tired, scared, petrified, insane, desperate, determined, defeated, ordered, chaotic, rebellious, devastated, miserable, optimistic etc.
I couldn't ever call Nolan lazy, but it seemed like he didn't have as strong a grasp on the minute details of what it would have been like on Dunkirk, only the macro large scale stuff.
His best film since at least Inception though.
I can't believe I'm gonna say this about the director that brought us The Prestige of all things, but I'm starting to think that Nolan really isn't all that meticulous or obsessive a filmmaker as some of his contemporaries.
I actually really enjoyed Dunkirk, but it often felt... bare for lack of a better word.
The beach segment in particular felt strangely bare-bones and simplistic, like there weren't enough elements or creative ways of showing the horrors of the situation. Like, soldiers in their line are all pretty clearly exhausted, and wanting to get out, but their individual emotions never really ebb and flow beyond that. Like how are these guys getting food? Were they running out of it? Were they starving? Was it cold there? It didn't seem like they had much shelter/warmth - were there soldiers freezing to death? The nazis were closing in, but it never really felt like they were surrounded. I understand Nolan wanted to show it from specific perspectives, which was absolutely the right choice, but he seemed to do it to an unnecessary degree, like he'd created a little rule for himself: "No ever seeing an actual nazi." Why? Wouldn't it be effective seeing these little dots of nazis off in the distance closing in slowly? At the start of the film they're much further away, and later on you can see their lines have drawn nearer? Like a tidal wave they can't outrun? This is a survival film. Adding layers of problems slowly choking these characters out with a vice grip seems vital to me.
What are these soldiers doing on a day to day basis to keep themselves busy/not go insane? Are some of them going insane? I wanted to see the starkly different experiences and reactions to how these people are dealing with the extreme situation they're thrust into. You compare it to Cameron's Titanic - some people are calm and collected, some are panicked messes, some are suicidal, some are content with just sitting and waiting for their fate, some push back against the structured order they're being bureaucratically forced into, knowing that order isn't going to save their lives now. Like why didn't anyone challenge Branagh at any point? "We have just as much right to be on this boat as anyone else! You could fit plenty more people on the boat!" When the bombs start dropping, why are they literally all just ducking? Surely a heap of them on the pier would have just jumped off into the ocean, preferring to freeze to death than wait to be blown to bits. The moment where the guy drops his equipment and strolls into the ocean, attempting to fucking swim back home was great, harrowing stuff. It's the kind of logical insanity these guys would be going through. The film needed more of this. This plethora of human reaction to an insane situation is, surely, the meat and potatoes of a film like this. Not the spectacle itself - the humans and their immediate struggles.
I'm reminded of the scene from Atonement set on Dunkirk, and while the two films aren't trying to do the same thing with the event, I can't help but compare the far more detailed and rich variety of human experience that Joe Wright manages to communicate in just one scene that Nolan can't quite match in his entire film. This is just a visual example and doesn't really speak to the heart of what I'm talking about, but it's a good entry point into what I'm saying:
Basically, if the beach soldiers were analogous to a character, that character was pretty one-note: tired, scared and uniform. That character should have been a gradient of tired, scared, petrified, insane, desperate, determined, defeated, ordered, chaotic, rebellious, devastated, miserable, optimistic etc.
I couldn't ever call Nolan lazy, but it seemed like he didn't have as strong a grasp on the minute details of what it would have been like on Dunkirk, only the macro large scale stuff.
His best film since at least Inception though.
Saw this in 70MM IMAX yesterday and... I really have no idea what everyone is raving about.
For starters, it's far too clean to properly represent the realities and chaos of war. They say they're evacuating 400,000 men but everything seems so incredibly small scale you don't get a sense of that. The flotilla that comes you could be mistake for thinking there was just 20 boats. Because that's pretty much all you see on screen. A few hundred men and a few handles of boats.
Did the IMAX showing add anything extra? Not really. There wasn't any extra detail to be captured in the vast expanses of empty ocean or fairly empty beach. The soundtrack did it's best to be needlessly bombastic and tension building but the pace of the film is so slow the tension of small scenes gets dragged out for faaaaaar too long.
Quite honestly I was bored in a lot of moments, overwhelmed by the obnoxiously loud soundtrack (although they worked well for the gunfire and explosions at the start, towards the middle and the end it was just getting pointlessly loud for no reason).
The dogfights were all drawn out in my opinion, considering the lack of variety presented in them. Be forgiven for thinking they just repeated the same shots for all the variety they had.
Honestly it wasn't really what I was expecting from the trailers - and chaotic war film of evacuation. Instead it's a slower, much smaller scale film with far less action than one would assume with a lot more tension building - and a feel like if Nolan had headed more down a route of action he could have achieved something more special.
Plus, too many water shots that looked like obvious clean water tank shots, and the explosions on the beach at the start? No blood, no beach craters or scorching afterwards. Just some bodies randomly flying in the air (where no bombs actually were? unless I missed something. It made it look like landmines or something rather than stuff dropping from the sky).
It's not a bad film by any accounts, but I can't get on board with the critical acclaim it's getting. And I don't think it does the Dunkirk operations the greatest justice it could have. It was a very clean, Hollywood-ised interpretation to me.
I can't believe I'm gonna say this about the director that brought us The Prestige of all things, but I'm starting to think that Nolan really isn't all that meticulous or obsessive a filmmaker as some of his contemporaries.
I actually really enjoyed Dunkirk, but it often felt... bare for lack of a better word.
The beach segment in particular felt strangely bare-bones and simplistic, like there weren't enough elements or creative ways of showing the horrors of the situation. Like, soldiers in their line are all pretty clearly exhausted, and wanting to get out, but their individual emotions never really ebb and flow beyond that. Like how are these guys getting food? Were they running out of it? Were they starving? Was it cold there? It didn't seem like they had much shelter/warmth - were there soldiers freezing to death? The nazis were closing in, but it never really felt like they were surrounded. I understand Nolan wanted to show it from specific perspectives, which was absolutely the right choice, but he seemed to do it to an unnecessary degree, like he'd created a little rule for himself: "No ever seeing an actual nazi." Why? Wouldn't it be effective seeing these little dots of nazis off in the distance closing in slowly? At the start of the film they're much further away, and later on you can see their lines have drawn nearer? Like a tidal wave they can't outrun? This is a survival film. Adding layers of problems slowly choking these characters out with a vice grip seems vital to me.
What are these soldiers doing on a day to day basis to keep themselves busy/not go insane? Are some of them going insane? I wanted to see the starkly different experiences and reactions to how these people are dealing with the extreme situation they're thrust into. You compare it to Cameron's Titanic - some people are calm and collected, some are panicked messes, some are suicidal, some are content with just sitting and waiting for their fate, some push back against the structured order they're being bureaucratically forced into, knowing that order isn't going to save their lives now. Like why didn't anyone challenge Branagh at any point? "We have just as much right to be on this boat as anyone else! You could fit plenty more people on the boat!" When the bombs start dropping, why are they literally all just ducking? Surely a heap of them on the pier would have just jumped off into the ocean, preferring to freeze to death than wait to be blown to bits. The moment where the guy drops his equipment and strolls into the ocean, attempting to fucking swim back home was great, harrowing stuff. It's the kind of logical insanity these guys would be going through. The film needed more of this. This plethora of human reaction to an insane situation is, surely, the meat and potatoes of a film like this. Not the spectacle itself - the humans and their immediate struggles.
I'm reminded of the scene from Atonement set on Dunkirk, and while the two films aren't trying to do the same thing with the event, I can't help but compare the far more detailed and rich variety of human experience that Joe Wright manages to communicate in just one scene that Nolan can't quite match in his entire film. This is just a visual example and doesn't really speak to the heart of what I'm talking about, but it's a good entry point into what I'm saying:
Basically, if the beach soldiers were analogous to a character, that character was pretty one-note: tired, scared and uniform. That character should have been a gradient of tired, scared, petrified, insane, desperate, determined, defeated, ordered, chaotic, rebellious, devastated, miserable, optimistic etc.
I couldn't ever call Nolan lazy, but it seemed like he didn't have as strong a grasp on the minute details of what it would have been like on Dunkirk, only the macro large scale stuff.
His best film since at least Inception though.
Nolan goes a bit too far out of his way to fetishize the 'British'-ness of all the soldiers. It borders on national parody. There's an air of romanticism and nostalgia to the whole film. Clearly, there's something about the idea of Britain as 'home' that Nolan is very drawn to.
this movie takes its time to sink into my mind long after I actually saw it :>
it's just very lovely to me :>
can't pick one single favourite scene, but there were very many pretty ones. many, many.
Another flaunted absence is CGI. Scale is the essence of the Dunkirk myth. There were more than 330,000 soldiers on the beach, and 933 British vessels, naval and private, plying the waves. It is for this kind of situation that computers were invented, but according to Nolan CGI counts as giving up.
So, in spite of his films $150m budget, the Royal Air Force seems to consist of three Spitfires, although real-life pilots flew 3,500 sorties at Dunkirk. The Luftwaffe, which Hitler made solely responsible for wiping out the beached Brits, seems able to summon up little more than a couple of Messerschmitts, three Stukas and one bomber. The Royal Navy appears to comprise just two destroyers; in fact, it deployed 39 destroyers and 309 other craft.
The restrictions Nolan places on himself have been cited to demonstrate his brilliance as a director. Not for him the humdrum apparatus of lesser directors. His film must be pared back so it can home in on its true subject. Which is what, exactly? Dont be silly, the reviewers groan: it is the horror of war as never before. OK, got that, another stab at war-is-hell. Except that Dunkirk is no such thing. It is a 12A effort that avoids blood and guts as thoroughly as it avoids so much else. In the film, people hit by bombs die discreetly, with no unseemly dismemberment. Even abandoning a torpedoed ship doesnt seem too unpleasant. So the movie doesnt, as claimed, make you feel the terror of those it depicts. Why not?
The movie is called Dunkirk and even says in the opening there were 400,000 people on the beach.Why not? Because it's a fucking movie mainly made for entertainment and not a historic period piece. My god I swear some people.
Why not? Because it's a fucking movie mainly made for entertainment and not a historic period piece. My god I swear some people.
Where are the Nazis?
Where is the back story?.[
Like that reviewer my fear going in was that it was an event movie like Gravity. That had to be watched in two specific formats for the true experience: IMAX 3D. This movie has a lot more going for it than Gravity in terms of stuff under the surface so I can't agree that it'll be "nothing at all" outside of the big screen. To me, that describes "best picture" winner Gravity.
The rest of that review is him telling us point-by-point what the film is. Then says it's not very good because of the things it isn't. Where are the Nazis? Where is the back story? Where are all the things that there aren't?
I don't get it.
Just for fun I looked up what he had to say on 13 Hours, the most absurdly patriotic movie I'd seen in recent years.
And while he didn't review it, he calls it "resolutely apolitical" and then tells us this one is full of bombast patriotism.
Nice one bruv.
I'm not actually asking those questions mate, I'm paraphrasing that reviewer