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Podcast: Wind River, Brigsby Bear – Extra Film

This week on the InSession Film Podcast: Extra Film segment, we discuss Taylor Sheridan’s Wind River starring Jeremy Renner and also the quirky comedy Brigsby Bear!

These two films couldn’t be more different from one another and that’s one of the more fun aspects to this week’s show. While neither are perfect, they’re both worth seeking out before they leave theaters, and we hope you enjoy them as we did! Also, JD gives his thoughts on Magic Mike since he was out last week on the show.

With that said, have fun listening to this week’s Extra Film segment and let us know what you think in the comment section below. Thanks for listening!

– Movie Review: Wind River (7:29)
Grades
JD: A-
Vince: A-

– Movie Review: Brigsby Bear (41:02)
Grades
JD: B
Vince: A-

This week’s episode is brought to you by our great friends at the True Bromance Film Podcast, Next Best Picture and The Atlantic Screen Connection Podcast.

– Music

Snow Wolf – Nick Cave & Warren Ellis
Until Our Next Adventure – David Wingo
The Return of the Eagle – Atli Örvarsson

We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes and Stitcher and please leave us a review on iTunes. You can also find us on Soundcloud, PlayerFM and TuneIn Radio as well. We really appreciate all your support of the InSession Film Podcast.

Subscribe to our Podcasts RSS
Subscribe to our Podcasts on iTunes
Listen on Stitcher
Wind River, Brigsby Bear – Extra Film

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Mobile App

To hear this Extra Film episode and everything else we do, download our apps on the Amazon Market for Android and the Podcast Box app on IOS devices. The mobile app covers all of our main shows, bonus podcast’s and everything else relating to the InSession Film Podcast. Thanks for your wonderful support and listening to our show. It means the world to us!

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Help Support The InSession Film Podcast

If you want to help support us, we would greatly appreciate it! For more info, CLICK HERE.

Movie Review: ‘Good Time’ is a pretty dang good time


Director: Josh Safdie, Ben Safdie
Writers: Josh Safdie, Ronald Bronstein
Stars: Robert Pattinson, Ben Safdie, Jennifer Jason Leigh

Synopsis: A bank robber finds himself unable to avoid those who are looking for him.

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Good Time is a void-like odyssey that will leave many people in a haze. The Safdie Brothers craft a brazen semblance that overlaps in to an overwhelming feeling of surrealism. This component is established rather early in the film, while they simultaneously introduce the dismal atmosphere that tends to creep up on you from time to time. Between both of these, there’s constantly a shell of exhaustion encapsulating the movie regardless of whatever scene is playing out.

There are those rare films that can make good use out of every scene presented in the movie. But every scene in Good Time, has a purpose. All movement put forth by every character is brisk. It never allows you to take a break. There are definitive moments that feel like you’re currently in frame, observing every second with sweat filled palms and an adrenaline filled body, waiting for something to escalate. This can be said for both the film’s surface conflict, and Robert Pattinson’s characters internal conflict. There’s always something to pay attention to. In fact, each complication will tend to collide with one another during a certain point in the film.

Robert Pattinson gives without a doubt one of the best performances of 2017 thus far. He’s entrancing every second he speaks a new line of dialogue. He completely embodies the grime and guilt of the situation he’s battling through in the film, not just physically but mentally. Ben Safdie is credited as a co-director but also portrays Pattinson’s characters brother. The emotional weight that’s lugged between the sincere bond of their brotherhood is harrowing as a viewer. It feels like salt in the wounds by the finale too.

There’s truly a lot of due credit to give for a project like this. Between the directing, writing or acting, the Safdie Brothers deserve every ounce of it, as you have to respect their audacity for a lot of the choices they opted out to. The synth pop soundtrack echoes throughout each scene along with the luminous neon aesthetic. The psychedelic cinematography mixed with every other advancement you can think of in the technical department. Everything they accomplished is unparalleled. This should definitely put each of them on the map of up and coming directors to keep an eye on.

When running down Good Time, it’s virtually impeccable from every aspect. It’s soaked in upbeat music and editing. It never has an over abundance of plot points nor does it ever feel like it’s attempting to be something more superior than what it wants to be. This couldn’t have been as good as it was without taking the direction it did.

To conclude, although a film from this genre may not be the most appealing to some, the cast and crew is really deserving of all the support it should get. It’s also an essential experience to see this in theaters. An exhilarating stimulation of emotion and intensity.

Overall Grade: A+

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Hear our podcast review on Extra Film, coming soon.

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Featured: Remembering ‘There Will Be Blood’ and ‘No Country for Old Men’

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As you may have heard on a few recent episodes of the InSession Film Podcast, this weekend on Episode 236 we’ll be continuing our year-by-year retrospective series by diving into the films of 2007. In many cinephile circles, 2007 is considered to be one of the best years in film ever to be recorded, and for good reason. It was a very, very deep year with arguably several films that would be vying for a spot in the Top 5 films of this century so far. The two-headed monster that would be at the top of that list would of course be Paul Thomas Anderson’s There Will Be Blood and the Coen’s No Country for Old Men. As far as a one-two punch goes, it doesn’t get any better than those two films.

No Country for Old Men may have won the Oscar for Best Picture that year, but in truth, it’s a toss up between each film if you’re going to argue which was is “better.” If our poll this week is any indication, we aren’t the only one’s who feel that way as the votes right now are very much split between the two films. It should be fun to see where they rank in our lists this weekend, as I’m sure we’ll be diving heavily into both at one point or another.

Remembering back to 2007, I was more familiar with the Coen brothers at the time, with films such as Fargo, The Big Lebowski and Raising Arizona being in rotation amongst my friends. In fact, There Will Be Blood may have been my introduction to Paul Thomas Anderson. I was aware of Boogie Nights and Magnolia, but I didn’t catch up with those films until later, as well as other PTA films. So at the time No Country for Old Men subjectively had more of my attention, especially given how jarring No Country was for me as it upended my previous experience with the Coen’s. Fargo had its fair share of dark moments, but overall it was balanced with some biting humor. Lebowski, Arizona, and O Brother, Where Art Thou? a few years previously were more in the comedic realm than drama. So for me, the Coen’s weren’t filmmakers that defined themselves by tense thrillers. And….I had nightmares over Anton Chigurh. Good God was Javier Bardem terrifying in that film, and if you know how the film ends, his performance lends itself well to nightmares. I’m sure that’s part of the reason he won an Oscar that year, all the voters were scared to death. Either way, it was a viscerally memorable experience given how different it was for me in regard to the Coen’s, but also because the film doesn’t feature a false note, or at least that’s what I would argue. It’s a breathtaking picture.

All of that said, despite less familiarity with PTA, I was also blown away by the prowess of There Will Be Blood and Daniel Day-Lewis’ performance. It’s a film that has been studied heavily since 2007, so I won’t go into it too much here, but I will admit that I agree with most of the essay’s out there about this film’s evolution into American capitalism and the commentary PTA is making with his exploration of Daniel Plainview. But more than that, what struck a chord with me the most, is the humanity at the center of all of that subtext. The progression of Plainview as a person is equally as fascinating to me.

2007 had a lot going for it in terms of film, and again we’ll dive into that heavily on Episode 236, but no doubt that it will be defined by these two great films. That said, where do you sit on the the debate between these two films. Let us know in the comment section below and stay tuned for our Retrospective.

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If you’re looking to the theaters this weekend, here’s what you can expect to see:

Leap!

All Saints

Terminator 2: Judgment Day 3D (limited)
Birth of the Dragon (limited)
Death Note (Netflix)

Poll: Which film defines 2007 the most?

This weekend on Episode 236 we’ll be diving into our 2007 Retrospective, which features some of the best films we’ve seen this century. In particular, it was the year that sparked the rivalry between There Will Be Blood and No Country for Old Men, two major films from that year. For many people, it’s a coin flip or decided by nitpicking each film beyond what is necessary. And we can sympathize with that dilemma, both films truly are spectacular and easily some of the best work we’ve seen in the last ten years.

So, with that in mind, we decided to pin them up against one another for this poll. Of the two films, which one do you think defines 2007 the most? No Country for Old Men may have won the Oscar for Best Picture, but There Will Be Blood is universally as loved, arguably more so. Where do you sit? Vote now!


Movie Review: ‘Logan Lucky’ is a Soderbergh good time


Director: Steven Soderbergh
Writers: Rebecca Blunt
Stars: Channing Tatum, Adam Driver, Daniel Craig

Synopsis: Two brothers attempt to pull off a heist during a NASCAR race in North Carolina.

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Logan Lucky is a blast from start to finish. With the return of Soderbergh to his Ocean’s Eleven roots in the resurfacing of his career, this all feels destined to happen. Tatum, Driver, and most importantly Daniel Craig create a fresh aura of comedic elements amongst a genre that was in need of something more light-hearted. While Soderbergh indeed delivers in the tonal department, it’s only the icing on the cake for this film.

The movie transpires just as any heist film progressively would but the brilliance of the screenplay actually helps out the one hour and fifty-nine minute runtime it currently tops out at. This films writer is credited as Rebecca Blunt. However, many sources say that Blunt quite possibly may be an entirely fictitious person. Whether she or Soderbergh penned the script, it’s incredibly clever nonetheless. It consists to a certain degree of that dry/witty humor that some may not find that amusing (especially for a movie like this), but for certain parts it might borderline on light slapstick humor. Whichever it may be, it makes for uproarious moments of laughter from our main protagonists.

Channing Tatum and Adam Driver make the ideal duo of the stereotypical dim-witted, country brothers. They fit their characters to a tee but also, this can be said for the rest of the supporting cast. Daniel Craig, Riley Keough, Katie Holmes and a very brief role for Seth Macfarlane maneuver a very good comedic presence into the film’s central core no matter how much screen time is given to each of them. You won’t mind cutting away from one of the main characters or from one of the main problems currently on-screen because each character carries the same level of interest that you don’t mind exploring.

By no means, is Logan Lucky a perfect film. It’s a very entertaining, jocular outing from Steven Soderbergh but I’d be lying if I said it didn’t carry any flaws. As stated before, the supporting cast really benefits the film’s progression but Hilary Swank’s character feels shoehorned in. After the climax, the movie comes to a bit of a halt. It slows down in preparation of the denouement but in the remaining conclusion of the third act, Swank’s antagonist is introduced. I understand why Soderbergh features her character as it’s a lesson to show that no actions comes without consequences. But it ends up feeling a bit bloated and sloppy by the time the film ends. Her character could’ve been reduced to a few scenes or could’ve just been handled better and it wouldn’t have hurt the film at all.

All in all, Logan Lucky contains some of the best comedic performances and rising action/climax put to screen this year. While it does have its flaws, it’s definitely a more than fun experience at the movies that will please audience members around.

Overall Grade: B+

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Hear our podcast review on Episode 235:

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List: Top 3 Movie Heists

This week on Episode 235 of the InSession Film Podcast, inspired by Steven Soderbergh’s Logan Lucky, we discussed our favorite heists in films. Any time you talk about Soderbergh and a new film, there’s a good chance a heist was involved. Even without knowing what Logan Lucky was about, you could probably assume that based on his past resume, so this just made sense. We have seen some great heists in the past, even in bad films, which makes this particular list even more compelling since we are talking about the actual heists themselves. On that note, what movies would make your list? Here are the one’s that made ours:

**Please keep in mind that we each had different criteria for our selections**

Brendan

1) Stealing the Data – Mission: Impossible
2) Casino Heist – Ocean’s Eleven
3) Bank Robbery – Bonnie & Clyde

Vince

1) Casino Heist – Ocean’s Eleven
2) Stealing Secrets/Dreams – Inception
3) Federal Reserve Heist – Die Hard with a Vengeance

Kevin

1) Stealing the Death Star Plans – Rogue One
2) Stealing Secrets/Dreams – Inception
3) Tricking the Bank – Hell or High Water

Honorable Mentions (Combined)

Various heists in Indiana Jones, National Treasure, The Founder, Mad Max: Fury Road, Bandits, The Italian Job, Fast Five, Sneakers, 11 Harrowhouse, Drive, The Sting, Baby Driver, Point Break, Out of Sight, Inside Man

Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. Depending on how you define “heist” and in what context you prefer, your list could look very different than what we conjured here with our picks. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].

For the entire podcast, click here or listen below.

For more lists done by the InSession Film crew and other guests, be sure see our Top 3 Movie Lists page.

Podcast: Logan Lucky, Top 3 Movie Heists – Episode 235

This week’s episode is brought to you by MoviePass! Sign up today for just $9.99/month and see unlimited movies!

This week on the InSession Film Podcast, Vince Leo fills in for JD and we are joined by Kevin Thompson from the Cinema Geeks Podcast to talk about Steven Soderbergh’s latest, Logan Lucky. We also discuss our Top 3 heists in films and we give our thoughts on the 2017 summer movie season!

Big thanks to Kevin for dropping by once again, it’s always a pleasure to have him on the show. We had a great time talking about Soderbrgh once again and why movie heists are so much fun to watch on the big screen. Also, stay tuned for bonus content as we will be finishing up our Satyajit Ray Movie Series soon.

On that note, check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!

– Movie Review: Logan Lucky (6:35)
Grades
Brendan: B
Vince: C+
Kevin: B

Top 3 Movie Heists (35:01)
Well since we are discussing a film by Steven Soderbergh this week, that means there is probably a heist involved. Even without knowing what Logan Lucky was about, you could probably assume that based on his past resume. So with that in mind, we of course had to talk about our favorite heists in film. We have seen some great heists in the past, even in bad films, which makes this particular list even more compelling since we are talking about the actual heists themselves. That said, what would be your top 3?

Top 3 Sponsor: First Time Watchers Podcast

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RELATED: Listen to Episode 232 of the InSession Film Podcast where we discussed A Ghost Story!

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– Grade of the Month Summer (1:15:54)
This week for our discussion segment, we spun our “Grade of the Month” segment and instead focused on grading the summer overall as we wind down and look forward to the fall season. This summer featured some major flops – as we see every year – but it also featured some pretty great films as well that will likely stick around until the end of the year. What did you think of the 2017 summer movie season?

– Music

Take Me Home, Country Roads – John Denver
The Genevieve Waltz – Larry Adler
Wonder Woman Theme – Hans Zimmer, Junkie XL
The Return of the Eagle – Atli Örvarsson

Subscribe to our Podcasts RSS
Subscribe to our Podcasts on iTunes
Listen on Stitcher
InSession Film Podcast – Episode 235

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Next week on the show:

    Main Review: There Will Be Blood
    Top 5: Movies of 2007

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Help Support The InSession Film Podcast

If you want to help support us, there are several ways you can help us and we’d absolutely appreciate it. Every penny goes directly back into supporting the show and we are truly honored and grateful. Thanks for your support and for listening to the InSession Film Podcast!

VISIT OUR DONATE PAGE HERE

Podcast: Magic Mike, The Midwife – Extra Film

This week on the InSession Film Podcast: Extra Film segment, inspired by the return of Steven Soderbergh (assuming he ever really retired), we discuss his latest NASCAR heist flick Logan Lucky, starring Channing Tatum, Adam Driver, Riley Keough, and “introducing” Daniel Craig. We also review the French indie film The Midwife, starring Catherine Frot and Catherine Deneuve.

As stated above, it’s hard to argue that Soderbergh ever really retired; since his TV-movie Behind the Candelabra he spent his time directing the Cinemax show The Knick with Clive Owen before coming back with a new feature film, only four years after his previous feature (Side Effects). This made it exciting to dive into one of his most popular recent films, as well as being a first time watch for Vince.

With that said, have fun listening to this week’s Extra Film segment and let us know what you think in the comment section below. Thanks for listening!

Magic Mike Movie Review (3:59)
Grades
Brendan: B+
Vince: B+

The Midwife Movie Review (33:01)
Grades
Brendan: C
Vince: B-

This week’s episode is brought to you by our great friends at the True Bromance Film Podcast, Next Best Picture and The Atlantic Screen Connection Podcast.

– Music

Sassy Sexy Wiggle – Joe Tex
Claire – Grégoire Hetzel
The Return of the Eagle – Atli Örvarsson

We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes and Stitcher and please leave us a review on iTunes. You can also find us on Soundcloud, PlayerFM and TuneIn Radio as well. We really appreciate all your support of the InSession Film Podcast.

Subscribe to our Podcasts RSS
Subscribe to our Podcasts on iTunes
Listen on Stitcher
Magic Mike, The Midwife – Extra Film

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Mobile App

To hear this Extra Film episode and everything else we do, download our apps on the Amazon Market for Android and the Podcast Box app on IOS devices. The mobile app covers all of our main shows, bonus podcast’s and everything else relating to the InSession Film Podcast. Thanks for your wonderful support and listening to our show. It means the world to us!

[divider]

Help Support The InSession Film Podcast

If you want to help support us, we would greatly appreciate it! For more info, CLICK HERE.

Movie Review: Great performances make ‘The Glass Castle’ a satisfying experience


Director: Destin Daniel Cretton
Writers: Destin Daniel Cretton (screenplay), Andrew Lanham (screenplay)
Stars: Brie Larson, Woody Harrelson, Naomi Watts

Synopsis: A young girl comes of age in a dysfunctional family of nonconformist nomads with a mother who’s an eccentric artist and an alcoholic father who would stir the children’s imagination with hope as a distraction to their poverty.

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The Glass Castle is a minimalistic emotional story that is rather heartwarming. With fantastic performances from a brilliant ensemble, Destin Daniel Cretton once again proves that he understands how to utilize multiple actors in a limited setting. Hot off the success of his indie film, Short Term 12, Cretton has now solidified himself as an intimate filmmaker. The film does have a few flaws here and there but all in all, The Glass Castle makes for a satisfying drama piece.

Based upon the novel by the same name, The Glass Castle tells a coming of age story of Jeannette (Brie Larson). Jeannette is forced to raise herself and her siblings while traveling all over the country with her dysfunctional parents Rex and Rose Mary (Woody Harrelson, Naomi Watts). The novel is based on the real life events of Jeannette Walls and the film is adapted with palpable detail. The story is masterfully crafted on the film format but it does have a few humps here and there.

Instead of being told like a typical biopic the film jumps back and forth between Jeannette’s childhood, teen years and her current adult life. Instead of going from one point in her life to another, Cretton moves the film around constantly making it feel much more alive. This film succeeds admirably on keeping its audience interested in its characters and the deeper message at hand. Cretton never takes the focus off of the relationship between the characters for a second making the film all the more enjoyable.

Though the film may be a great character study it does lack in its screenplay in a few areas. Some of the jokes don’t land as well as intended and some moments feel a bit too fabricated or awkward. Even though the energy is kept up through a majority of the film it’s these small moments of disconnect that bring you out of the moment. Despite the screenplay being a bit rocky it does not hinder the overall message of the film. We do receive these moments of disconnection or over saturation but the emotional center of the movie remains perfectly intact.

One thing that this film solidifies for Cretton is that he is one of the best ensemble directors working. He completely understands how to utilize multiple characters with multiple personalities and mix them all together in one big boiling pot. Each character has a different vibe or energy about them and it makes the film much more layered. Instead of a bunch of different actors acting under the same umbrella, Cretton gives each of these talented actors the chance to showcase their strengths. Brie Larson is incomparable as always, Woody Harrelson gives one of his best performances in recent memory and Naomi Watts delivers another methodical nuanced performance. Each actor in this film plays into the emotional core of the movie and that is a fantastic approach to something as emotionally depth as this.

The Glass Castle has a strong emotional center that is ultimately catered by its brilliant characters. Cretton proves that he is not a one hit wonder with this film and he tells Jeannette Walls’ story on an immensely effective level. The Glass Castle may not be a film that will stand the test of time but it definitely is one to not kick to the curb. It may not be a groundbreaking or life changing film but it definitely is emotional and heartfelt.

Overall Grade: B

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Hear our podcast review on Episode 234:

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Featured: Anticipating ‘Logan Lucky’

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Summer 2017 has arguably been the best we’ve seen this decade for movies, and perhaps of the century so far as well. While we didn’t love Guardians of the Galaxy Vol 2 as much as everyone else, it kicked off the summer very well for most people. We also saw the likes of Wonder Woman, Baby Driver, Spider-Man: Homecoming, War for the Planet of the Apes, Dunkirk and Detroit, all films that range from good to really great. Additionally we saw some fantastic indie films this summer such as It Comes at Night, Okja, A Ghost Story, The Beguiled, The Big Sick and for many Lady Macbeth. The summer still has a few week’s left with some promising films that could only amplify this notion, one of those being Steven Soderbergh’s Logan Lucky.

I am a big fan of Soderbergh overall and the fact that he came out of “retirement” for this film is beyond exciting to me. Indeed, that’s exactly why Logan Lucky made my Top 10 most anticipated films for the entire year. Soderbergh is a director that has a wide range, which is what I love about him, and he’s great at operating in various spaces. He’s made some though-provoking films that I endlessly adore – Solaris and Out of Sight for example – but equally he’s rendered some of the most fun I’ve had in a theater. Ocean’s Eleven and Magic Mike are two of the funnest movies I’ve experienced in a theater. Ocean’s Eleven in particular could not be more pertinent to Logan Lucky, another film centered around a heist.

This time though, Soderbergh is forgoing the vibrant elegance of Las Vegas, and instead Lucky is taking us to North Carolina and the world of NASCAR. That isn’t to say anything negative about that setting, but rather it’s just very different than the Vegas aesthetic, and personally I’m very excited for that shift. There’s something about that premise – a heist at a NASCAR race – that is refreshing and full of potential. And in the hands of Soderbergh? Yeah, this could be special and perhaps the best way to end the Great Summer of 2017 (for movies anyway).

One thing that is certain in a Soderbergh film is that it will feature a great cast. Well, Logan Lucky is absolutely tapping into that fact is some fascinating ways. This film will feature an unrecognizable Daniel Craig, Channing Tatum, Adam Driver, Riley Keough, Katie Holmes, Seth MacFarlane, Katherine Waterston, Hilary Swank, Macon Blair, and even Jeff Gordan makes an appearance. So, that cast is pretty alluring and I’m excited to see how they work together here. In particular, I’m very excited to see Craig, Tatum and Driver operate in this setting and the chaos that comes as a result. Good lord this is going to be a lot of fun.

What about you? Are you as excited for Logan Lucky as I am?

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Here are other titles coming to theaters this weekend:

The Hitman’s Bodyguard
Lemon (limited)
Patti Cake$ (limited)
6 Days (limited)

Poll: What is the best heist movie?

Happy Logan Lucky week! We are big fans of Steven Soderbergh and could not be more excited that he came out of “retirement” for another go-round. We’ve seen him do heist movies before, but this time he’s forgoing the pristine and elegant proceedings of the Ocean movies, and this time we’re heading to North Carolina and the NASCAR circuit. And honestly, I can’t wait to see what he does with that setting. With all of that said, using Logan Lucky as inspiration, what film do you think sits at the top as the best heist movie?


Featured: Dunkirk – Why it matters to the British

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Have you seen Dunkirk yet? What did you think?

The story of Dunkirk the film is an interesting one. Christopher Nolan, in a recent interview with the BBC, said that this was a British story told with American money, which makes it extremely unusual. The story of Dunkirk has been told on screen before, most notably in Dunkirk with John Mills, but has also been in the background of other films such as Atonement with James MacAvoy. In all these cases the films are relatively low budget, and the sheer scale of the Dunkirk disaster has not been portrayed before. Chris Nolan said, in the same interview, that Dunkirk is one of the greatest stories that has yet to be told and that his film was his best effort to convey the experience.

The film is a huge success, conveying a sense of tension, dread, fear and sudden death from all directions. The reality of Dunkirk was far far worse.

The story of Dunkirk is woven deep into the social fabric of Britain. My generation (I was born in the 70s) grew up on the story of how a group of gallant civilians saved an army from annihilation by the Nazis; my grandparents all fought in the war, my uncles and aunts all lived that experience, I grew up with a distrust of Germans and Europeans, of the sense that Britain saved the world, that the French were weak and feckless, the Germans were warlike and untrustworthy, a sense of resentment over a perceived lack of thanks for our efforts and sacrifice to liberate these European countries. This sense of moral superiority survives to this day -England soccer fans still taunt their German rivals by shouting “two world wars, one world cup” however incorrect that may be.

Figure 1 :Map of the English Channel

Why does Dunkirk run so deep through our national psyche? Why is this such a big thing? In this article I try to explain how the British view the events of Dunkirk, and why we view them in such a way. I’ll touch on our relationship with the sea and other nations of Europe, and the peculiar mindset that afflicted the British between the wars, and after the Second World War.

The Sea

One thing to remember about Britain is that our nation is shaped by our relationship with the sea. Britain is, and always has been, a nation of seafarers. A trading nation happy to subjugate and trade with the wider world far beyond the horizon and defend that relationship through projection of Naval Power. Not for nothing is the Royal Navy referred to as the Senior Service – it is and always has been the core of the nation’s defence.

Figure 2:Beachy head, Sussex – One of the famous white cliffs

We are an island nation, we have a natural defense in the seas that surround our coasts. The south of England, closest to the continent of Europe, is largely made up of cliffs of chalk and limestone. What low lying land there is on the south coast is salt marsh, what few natural harbors that exist – notably Plymouth and Portsmouth – were largely taken over by the Royal Navy. Our natural defences have deterred the dreams of many Emperors and Kings through the centuries. Even the Romans, who had conquered all of Western Europe by 52 BC, but it was nearly 100 years later, in 43 AD, that the Emperor Claudius finally bringing his legions to Britain. The last time we were successfully invaded was the Norman conquest of 1066- nearly a thousand years ago.

The Foreign Policy

As an Island nation we have long followed the foreign policy of splendid isolation. For centuries we have not involved ourselves with conflicts on the continent (that’s how Brits refer to the mainland Europe – another example of the ‘us-and-them’ mentality we have) unless there was a clear benefit.

For example the assault of the Spanish Armada in 1588. Spain (Catholic) was annoyed with English-sponsored piracy in the Caribbean and the fact that Britain was ruled by a Protestant monarch (Elizabeth I) instead of her older sister Mary (who was a Catholic). The English foreign policy was to harass Spanish treasure galleons in the Caribbean, but otherwise was not fussed about what the Spanish thought – splendid isolation.

When the Armada appeared in the English Channel, things suddenly looked very serious. There was a sudden and very real threat of invasion, especially when the ships anchored of Calais to wait for the arrival of the Spanish army. The Royal Navy attacked with fireships (at Gravelines, about five miles west of Dunkirk), scattering the Spanish fleet, then followed up with a serious battle on the remnants of the fleet, forcing the Spanish north, up between Scandinavia and the East coast of Britain and causing them to round the wild coasts of Scotland. In September. They arrived in the channel with plans of invasion, three months later they were left trying to survive. Many did not. The Armada was destroyed as it rounded Scotland thanks to a series of storms. The British has committed to just two military actions.

The start of the 20th Century

Splendid Isolation, as a policy, began to weaken after the French Revolution and the joint British/Prussian defeat of the French Emperor Napoleon (finally settled at the Battle of Waterloo in 1815). Britain began to ally with many of the continental countries, most notably old enemy France (the Entente Cordiale of 1904). This alliance between Britain and France concerned the new country of Germany (created in 1871) who felt threatened by the new superpower to their West.

Figure 3:Queen Victoria of England(seated middle) and her family including Kaiser Wilhelm (with moustache and peaked hat, seated, to the left of the Queen) and Tsar Alexander of Russia (in hat standing just behind the Kaiser), and the then Prince of Wales, later King Edward VII, stand directly behind the Tsar with the beard in the military uniform.

Kaiser Wilhelm, the slightly unstable leader of the new Germany, was a committed Anglophobe. He loved Britain, and celebrated his close relationship with his grandmother Queen Victoria, herself of German extraction. Wilhelm believed and hoped that Britain would not change its centuries old policy of splendid isolation when Germany declared war on France at the start of what became the First World War. His gamble failed, and the moment Britain committed to support France (by sending the British Expeditionary Force (BEF)), the war was guaranteed to grind to a halt along a frontier as two equal armies hit each other face on and stalled. The tragedy of the First World War was that it ground on for five years and wasted thousands of lives.

The rise of the Nazis and the British perception

The rise of nationalism and ultimately the collective insanity of National Socialism (as advocated by the Nazi party) during the 1930s made the British position at the start of the Second World War easier to define: stand up to fascism. Compared to the confusing, irrational, house-of-cards collection of alliances and agreements that drew all the combatants into the horror of the First World War, the rationale behind the British involvement in the Second World War is much easier to understand.

This idea lies at the root of the National belief that the British saved the world. It leads directly to the actions that led to Dunkirk and is still at the core of much of the populace’s beliefs to this day. The vote to leave the European Union in 2016 was undoubtedly coloured by this belief, though I should point out that many many other factors came into play.

It should also be pointed out that in the twenty years between the two wars, Britain was not keen to get involved in another war. It sat on the sidelines during the brutal Spanish Civil War (which installed fascist dictator Franco on the throne) and refused to get involved during the rise of fascist dictator Benito Mussolini in Italy. Hitler was a different issue. Germany sat at the heart of Europe, and was (and still is) the industrial powerhouse of the continent, with huge technological and natural resources (though not oil) and a brilliant populace. Germany had been humiliated by the terms of the armistice that ended the First World War, it was forbidden to have an army or Airforce over a certain size and denied a Navy altogether. It also suffered economically, with rampant inflation of prices and mass unemployment.

Hitler stood before Germany and promised to make it great again. Once elected he began work on a number of capital projects – a huge interstate building program, new ships and planes, new airports and cities. He employed thousands, balanced the economy, and moved Germany back into positive economic growth again. Then he began building up the German military again, against the armistice agreement. To the nations surrounding Germany, this was concerning. Hitler then began aggressive moves. He annexed the country of Austria (which is very close to Germany in language, beliefs as well as geographically and being Hitler’s birthplace), then moved into northern Czechoslovakia claiming it as morally German. In both cases Britain and France, both wary of another war, protested, but did no more.

The scars of the First World War

Why did Britain and France do this? Well, it comes back to another part of the British psyche that stems from the First World War and it is to do with the huge amount of death the country experienced

The wounds of the First World War were still raw in British society, the fear of another round of wasteful stagnant conflict terrified the British. The First World War was the first war to actually be understood by the general population, to be followed in newspapers, to be seen in early newsreels. It was also the first war to impact our national culture, the advent of famous War poets such as Wilfred Owen and Siegfried Sassoon with their melancholic verses and tragic deaths brought home to the nation the sheer horror of the war. The Victorian era, which ran (very roughly) from the Battle of Waterloo to 1900, was the first social era to celebrate, or even acknowledge, death and set the pattern of mourning their loss.

Figure 4: Dud Corner cemetary, home of the Loos memorial (the walls around the site)

This led, directly, to the First World War being the first major war to maintain records of those who died, and to celebrate and remember their sacrifice. We have a national minute’s silence every year at 11:11a.m. on the 11th November (11/11) – the date and time of the ceasefire that ended the First World War. If you visit Britain in November you will see a lot of people wearing small red flowers. These are poppies, the first flowers to bloom amid the carnage of the trench battlefields, and adopted as the symbol of remembrance. Every soldier who died in the First World War (also known in Britain as ‘The Great War’) has their name recorded somewhere in one of the cemeteries established by the Commonwealth War Graves Commission (established in 1917) either as a marked grave, where a body has been recovered and identified, or as a name on a wall where no remains have been found. To visit one of these immense cemeteries in the bleak farmland of Northern France is a humbling experience, and thousands would have done so, to pay homage to lost friends or loved ones. It is a tradition that continues to this day. My Great Uncle Teddy is named on Loos Memorial having been killed in the Battle of Fromelles aged 22. He has no known grave.

Back in Britain, this practice was continued with the thousands of individual war memorials that exist in almost every British village and parish church listing the names of the local men who went to France and never returned.

Make no mistake, the wounds of the First World War run very very deep. The war affected everyone, from the wealthiest Lord to the poorest peasant. The country sent an entire generation away to fight and lost most of them. Advances in battlefield medicine meant that many did come back, wounded and suffering, but alive. Remember in Downton Abbey when they turn the big house into a hospital? That happened all over the country, bringing the horror of war home to the general populace. Wounded soldiers would have been a common sight.

Figure 5:Typical English Villiage War Memorial

Those who returned came back with a variety of wounds and ailments the like of which had never been seen before – wheelchairs and prosthetic limbs were seen for the first time, as were diagnoses of new mental illnesses such as shellshock.

This experience affected the British national soul in an unusual way; our attitude to those with disabilities. Britain is at the forefront of medicine to treat those with disabilities to this day. Our surgeons pioneered plastic surgery and physiotherapy. We devised the first ever Disability games at Stoke Mandeville Hospital in 1948, something that has gone on to become the Paralympic Games, one of the largest sporting events in the World. In London 2012, the Paralympic Games sold the same number of tickets as the Olympic games held a few weeks before, and Paralympic sport gets coverage on national TV. We have national organisations such as the Royal British legion and Help for Heroes who provide support, care, and rehabilitation for wounded members of our Armed Forces, and more recently HRH Prince Harry has been involved in organising the Invictus Games a multi-sport tournament for wounded servicemen and women from around the world. Arguably Britain leads the world in our attitude to those with disabilities and it all stems from the special horror of the First World War.

The policy of appeasement

Prime Minister at the start of the Second World War was a chap called Neville Chamberlain. He was a highly experienced politician and when he assumed the position of Prime Minister in 1937 nearly all of his time and effort was directed towards handling Hitler’s Germany.

Figure 6: Chamberlain meets Hitler at the Bergof, Sept. 1938. Credit: By Bundesarchiv, Bild 183-H12478 / Unknown / CC-BY-SA 3.0, CC BY-SA 3.0 de, https://commons.wikimedia.org/w/index.php?curid=5433934

Chamberlain had a big problem. Since the First World War, the British Army had reduced spending on its armed forces (as you do in peacetime). However this had meant that all three arms of the military had fallen behind technologically, especially when considering the propaganda videos being issued by Germany showing high-tech tanks, armoured cars and motorbikes.  In the mid-1930s Britain woke up to this deficit and began work on mechanising their own army. However such a project takes a long time to deliver and was still grinding along as the Munich Crisis was happening. Chamberlain adopted a policy of appeasement, an attempt to mollify and diplomatically corral Hitler, which was widely denied once war broke out. However more recent historians believe that Chamberlain was trying delaying tactics, in order to give the British Military as much time as possible to re-arm and re-equip before war broke out.

However the feeling that still pervades the British mentality today was that Chamberlain was hoodwinked and tricked by Hitler, made to look foolish and weak. Then, once war had broken out, it was Britain that swung to the rescue of Europe under the leadership of Winston Churchill. In fact it now appears that Chamberlain thought war was highly probable and was attempting to either find a peaceful solution or to get as much time as possible before war broke out to get his country as prepared as it could be.

The Phoney War

When the Wehrmacht invaded Poland on 1st Sept 1939 no major military power came to their aid, despite their being defensive agreements between the Poles and both Britain and France. The German army overwhelmed the country in a mere six weeks. The legend of the Blitzkrieg or lightning war, was born.

There then came a period of, well, nothing much. Despite a state of war existing between Germany, Britain and France, not much fighting actually occurred: The French moved into the Saarland to help the Poles, but swiftly retreated, a few ships were sunk (including the Graf Spee), a few skirmishes occurred, but in the main war not much. This period of time is called the Phoney War.

Immediately after hostilities commenced, the British sent a new British expeditionary Force (BEF) to France.

The BEF was small, just 13 divisions – about 500,000 men – but this was still half the entire British Army. It was also, arguably, the most modern army in the world. The battledress issued was state of the art, the rifles cutting edge, the tin helmet the envy of the world. It was almost entirely mechanised: unlike the German army the British had eliminated the horse from its ranks, replaced by lorries, tanks and armoured cars. The downside to being this advanced was things hadn’t been produced in enough quantities to fully equip everyone. Just six months before a German military attaché had witness British troops marching with broom handles as they didn’t yet have rifles. Chamberlain knew this and it now seems likely that his policy of appeasement was also playing for time to fully equip the army.

During the Phoney War two major things did happen: Finland was invaded by Russia (who, at the time, were allies with Hitler’s Germany), and the Germans invaded Norway. The Russian invasion caused much consternation in London and Paris, but ultimately by the time they had both mobilised to do something to help the Finns, the offensive was over and Stalin’s Russia had won.

Norway was a different matter. The British, worried that their traditional route to the sea from their Scottish bases would be compromised by having to sail down the North Sea past a hostile shore. The British sent troops to Norway in a number of poorly executed attacks, all of which came to nothing except to undermine confidence in Chamberlain’s government. On the 10th of May 1940, having faced a vote of no confidence in the House of Commons, Chamberlain resigned the premiership and the king appointed Winston Churchill, a vocal opponent of Chamberlain’s policy of appeasement, as Prime Minister.

This is the start of the legend of Churchill: the War Leader. He took his post on 10th May 1940.

On the same day, the Germans attacked France.

The invasion of France and the retreat to the sea

The legend of the invasion of France has it that German tanks and infantry were faster to the field, and were more powerful when they got there. This is only partly true. It is true the Blitzkreig tactics of air assault followed up by swiftly moving armour and soldiers was incredibly successful, but it wouldn’t have been enough to smash the huge French and British armies massed on the border or behind the heavily fortified Maginot line.

Figure 7:The final German assault plan 1940. Army Group A hit the BEF and French head on, Army Group C held the frontier opposite the Maginot line, Army Group B attacked through the Ardennes forest and caused the most damage.

The success of the German army during the battle of France can be attributed primarily to their offensive through the wooded valleys and hills of the Ardennes region of southern Belgium – between the two major allied armies. No army, no matter how strong, can survive attack on their flanks (or sides). Thus the combined French, British, and Belgian armies had no choice but to retreat. The small Dutch army had been utterly bypassed by the Nazi offensive, the Belgians retreated roughly due north to the Belgian coast (and held out around the fortress city of Liege for another three months). The French and British retreated west towards the French border – fighting ferocious rear-guard actions at a number of natural obstacles along the way. These battles, along the Meuse for example, were held over much of the terrain the First World War fought over. Not for nothing is Northern Europe thought of as being bathed in blood.

The effect of the German attack on the British national mentality

To the British, then and now, the thoughts of the events of May 1940 raises dread and fear. Half the army was cut off on a hostile continent, nothing appeared to be able to stop the advance of the Germans, and invasion seemed likely. Invasion. It had been a thousand years since Britain had last been invaded, but here it seemed inevitable. With just half the army available, how could anyone repel such an assault?

Figure 8: Typical Pillbox by a canal

Morale plummeted amongst the British public. Defensive lines were drawn up, defensive structures were built and many still dot the English countryside to this day – concrete pillars to stop tanks, small bunkers called pillboxes on canals and rivers – they were often the playgrounds of my youth. I grew up in the shadow of Dunkirk.

Figure 9: Typical Tank traps defending a bridge

So, encircled, the British and one of the two French armies found themselves on the beach at Dunkirk. A corps of British soldiers and one of the French armies established a perimeter and reinforced it. With their backs to the sea, all the army could hope for was evacuation.

The sea. Backs to the sea. Here is where Dunkirk resonates with the British. The sea had been our nation’s benefactor, or protector, the source of our wealth and our security. Now it was an obstacle, it had turned against us. It was preventing us from continuing our retreat and protecting our nation. The sea was now going to cost the country our army, and make it easier for the seemingly unstoppable German forces, who had taken Czechoslovakia, Austria, Norway, Poland, the Netherlands and Belgium already, from swarming across the channel. Our capital is just thirty miles from the south coast.

Figure 10: German invasion plan for the UK 1940

The battle for Dunkirk was a battle for survival, as the film rightly shows, but what may be missed by viewers from other countries is that it is a metaphor for the survival of our entire country, our entire way of life, of London, of everything that makes us, well, us.

If the evacuation at Dunkirk had not have happened. Britain would have been invaded. An invasion we would probably lose.

The Dunkirk Evacuation – the Sea

Let’s now look at the events of the evacuation itself. It is estimated that 400,000 men were inside the Dunkirk perimeter. To the east of the town were sand dunes behind which were flat marshes. To the west of the town was the port. The perimeter ran from the marshes through the streets of the town and included the docks and was ferociously defended by the French. Immediately the Germans targeted the port and destroyed it (those at the fires seen in the film from the mole) from the air. There was now no deep water dock for larger ships to tie up against. The forty-seven destroyers (the large warship seen in the film) could not get close to take anyone off. All they had were their launches.

By day two it was discovered that the moles were capable of being used as rudimentary docks. The moles were outer breakwaters designed to create a wider sheltered zone outside of the port. Never designed for the loading or unloading of ships, the moles were just long piles of stones and rocks topped with a simple wooden walkway. There were two moles, east and west, with the East mole being a mile long. Small coastal pleasure boats could tie up against the mole, as could larger coasters, ferries and hospital ships. Over 180,000 men were evacuated from the East mole alone, the most successful part of the whole operation.

Figure 11:View of Dunkirk Harbour, 1940

Both moles were, however, cruelly exposed to artillery and air attack. On the 29th May the Destroyers HMS Grenade and HMS Jaguar were tied up, with six trawlers and the passenger ships Fenella, Crested Eagle and Canterbury. The German air assault began at 3pm and ran until 8 in the evening during which all the ships were damaged or sunk, with only the Jaguar and the Canterbury able to limp back to Britain. Off the beaches, at the same time, the Stukas badly damaged the destroyers Gallant, Greyhound, Intrepid and Saladin, as well as the sloop Bideford. The passenger ships Normania and Lorina were sunk, as was the merchantman Clan Macalister and the armed boarding vessel King Orry as well as many smaller craft.

The core of the Dunkirk operation lasted a week. At any point during the operation there were between 20 and 40 Destroyers patrolling the seas off the beach. With the loss of the port at Dunkirk, those ship could do nothing but wait, and watch, and do the best they could to defend the troops on the beach. Imagine how the officers and crews of those ships felt. Occasionally they attempted to shell the Germans army outside of the perimeter but without accurate spotting, they could not be sure they were not killing allied troops. All those warships could really do was defend against air attack and wait to take people off. All the while being attacked by bombers (the twin engine Heinkel in the film) and their defending fighters, but there weren’t just single planes, there were swarms.

Figure 12: German S-boat

There were also the occasional U-boat attack though the shallow water prevented them from doing their worst. Much more threatening was the S-boat (which the allies labelled E-boats), heavily armed speedboats capable of charging through a fleet of capital ships at fifty miles an hour, throwing torpedoes, sowing mines and strafing fragile craft. S-boats are not seen in Nolan’s film, but they were there, frequently attacking at night, and causing chaos. During the battle, nine destroyers were sunk and nineteen damaged.

There were bigger ships at Dunkirk, but the shallow water and narrow confines of the English Channel made it too much of a risk to deploy them (remember there were extensive minefields which restricted operations further). The Dover straits were shortly to become known as Hellfire corner due to the sheer ferocity of the battle that raged on and above the narrow strip of sea for the rest  the year.

The Dunkirk Evacuation – the little ships

Despite the valour and sacrifice of the Royal and Merchant Navy at Dunkirk, the legend in the UK is of the so-called little ships: these are the pleasure cruisers, private yachts, barges and launches of private ownership that were pressed into operation to evacuate troops stuck on the beaches at Dunkirk.

On the 27th May, the second day of the evacuation, the British ministry of shipping telephoned boat builders all around the South Coast and asked them to collect all boats of shallow draft that could navigate shallow waters. In total it is estimated that over 700 vessels took part in the operation and many still exist today.

Figure 13:Collection of ‘little ships’ being towed down the Thames on their way to Dunkirk

The little ships were frequently piloted by their owners and many were killed during the operation. The majority of the 226 ships sunk during the operation came from the ranks of the little ships. No-one knows how many were killed.

However here is something else that resonates with the British about Dunkirk – the bravery of the ‘citizen sailors’ who answered the Navy’s call. There is no doubt of their heroism.

For example, the story of the Royal Daffodil II which evacuated 7,461 people from Dunkirk in five trips despite being hit by a bomb which exploded below the waterline.

Or the Medway Queen a paddle steamer which made seven trips, rescuing over 7,000. It had been requisitioned before the operation by the Navy and equipped with an ancient 12 pounder gun, but on seeing the carnage on the beaches, encouraged the troops to bring their Bren light machine guns and, now armed to the teeth, managed to shoot down three enemy aircraft, penetrated the shattered harbour at Dunkirk at one point, and even took men directly off the beaches.

Or the Sundowner, which was owned and sailed by Charles Lightoller – the most senior officer to survive the Titanic Disaster, who volunteered himself and his son to sail to the coast. The story of the Sundowner appears to be the basis for the Mark Rylance story in Chris Nolan’s film.

At sea, the evacuation was hell.

The Dunkirk Evacuation – the Land

The movie shows us a lot of the mole and some of the wide flat beaches in front of the town. In fact the beaches stretched for some considerable distance beyond the town and were largely backed by sand dunes. It was in these dunes that the majority of troops sheltered as it was marginally more protected than standing on the open flat beach.

However the soldiers did have to stand, in orderly lines, waiting patiently to climb on a boat for salvation. 400,000 men standing in queues on a wide shallow beach, looking across the sea at safety. As they stood on the beach they were subjected to relentless aerial assault, constant Stuka attacks (the screaming aircraft from the film) and strafing runs by Messcherschmidt 109s. No cover. No hiding place. Just fall to the floor and hope for the best. Then, when the attack was over, stand up and re-join your queue. Wait for salvation. Wait for the next attack. Tedium. Terror. Tedium. Terror. Frustration. Fear. Imagine, for a moment, what that was like.

At least you could hear the planes coming, the artillery strikes arrived without warning. The Germans had it easy, all they had to do was shell the beach.

The stoicism of the Dunkirk troops is celebrated in the UK. There is no story of a breakdown in discipline, even though situation in France was very carefully stage managed by the British government, papers were banned from reporting and a tight grip was made on the news, supplanted with stage managed propaganda. It is this propaganda that remains in the British collective memory.

Figure 14: Troops on the beach
Figure 15:Balcony below Dover Castle from where Operation Dynamo was run

Imagine the frustration of those stuck on the beach. Kenneth Branagh, the character used to give you a sense of the overall situation, says at one point “You can almost see it from here.” meaning the South Coast of England. Dunkirk, on a clear summer’s day, you can indeed see the Kent coast as a thin strip on the horizon. Operation Dynamo, as the Dunkirk evacuation was codenamed, was run from some Napoleonic era tunnels under Dover Castle. From the balcony in the cliffs below the medieval walls (and Roman lighthouse) officers equipped with a decent set of binoculars could actually see the beaches at Dunkirk, could see their army, but just couldn’t reach them. Imagine the sense of frustration and impotence those officers felt.

The Dunkirk Evacuation – the Air

Which brings us to the air. The RAF Fighter Command flew over 3,000 sorties during that week, and encountered the much vaunted Luftwaffe. On paper, the Luftwaffe should have won easily – it had many more aircraft, all of which were mounting much heavier guns. The ME109 (the yellow nosed fighter seen in the film) mounted two cannon in the wings and two 7.62mm machine guns in the nose. The British had eight 7.7mm machine guns, the cannon on the German fight fired a bigger shell with an explosive charge, so took fewer hits to down an enemy.

However the British not only had Spitfires and the tougher, but slower Hurricane (not seen in the film), but they also had radar – a new technology that allowed the fighters to be sent accurately to intercept incoming Nazi attacks. The RAF effectively tested its new management system during Dunkirk, and refined it further It was this system, along with the superior fighter aircraft, helped Fighter Command to frustrate the Luftwaffe’s assault during the summer – despite being outnumbered and outgunned.

Towards the end of the film a soldier attacks an airman, saying “Where the hell were you then?” The RAF actually fought most of its battles out over the sea, encountering bombers, dive bombers and fighters attacking ships in the channel. Only a few planes made it to the beaches, leading to much animosity between the army and the Airforce. In fact the RAF fought hard, shooting down three times as many aircraft as the Germans managed.

Also crucial during the Dunkirk operation was the further refinement of RAF Search and Rescue Force, a fleet of high speed launches that sped out into the channel and hauled downed pilots from the sea and returned them home as quickly as possible. During the Battle of Britain it was not unheard of for pilots to be shot down early in the morning and being returned to their squadrons and flying again in the afternoon. The German pilots frequently drowned. This helped preserve the desperately small force of trained fighter pilots.

Fighter Command pilots who fought during the Battle of Britain (which began at Dunkirk and ran until the end of September 1940) are venerated in the UK as “the Few”, taken from Churchill’s second famous speech at the end of the Battle of Britain in September 1940: “Never before in the field of human history has so much been owed by so many, to so few.” Not for nothing is Dunkirk thought of as the start of the Battle of Britain. The invention of radar and its combination with an effective command and control system and robust communication network with the pilots was the key to the defence of Britain during the Second World War.

The combination of these three elements, Command and Control, the Spitfire, the Few is the stuff of legend in Britain. It is the basis of the legend of us standing alone against tyranny, alone against fascism, the saviour of Europe just gathering itself to fight back while defended by heroes. This entire legend, myth or not, began with Dunkirk and still resonates today.

Churchill

Which brings us to Winston Churchill, the talismanic war time prime minister. A man venerated as a national hero, voted the greatest Briton of all time in a BBC poll, a man whose statue stands alone in Parliament Square, staring at the Palace of Westminster. Dunkirk is the start of the Churchill myth.

It was clear as the Nazi armies rolled through Poland and the ‘Phoney War’ came to an end that Chamberlain’s policy of appeasement had failed and that Britain was at war. The various political parties immediately voted to put aside party politics and established a war cabinet to last for the duration of hostilities. Chamberlain excused himself from leading this new organisation and the cabinet immediately and unanimously voted Churchill, a highly experienced minister, as Prime Minister.

Three days later after accepting the job, Churchill made his first speech to Parliament as Prime Minister. The speech was legendary, known today as the “Blood, toil, tears and sweat” speech it electrified Parliament and galvanised the British People.  This was a man saying that the country was at the start of a war, a war that was going to be painful, but one that that just. It is worth quoting one passage in full:

“You ask, what is our aim? I can answer in one word: Victory. Victory at all costs—Victory in spite of all terror—Victory, however long and hard the road may be, for without victory there is no survival.”

With that one speech Churchill had the country in the palm of his hand. He held the hopes and fears of everyone, but he also seized their support. He won their trust and their faith, reinforced it over the next few years, and, most importantly, never betrayed the faith the British people put in him.

By the end of Dunkirk, he was a legend.

Conclusion

Dunkirk, the movie, tells just a snapshot of what Dunkirk, the event, means to us Brits. It is the start of our nation’s self-delusion that we are the saviors of Europe, which Europe somehow owes us for coming to their aid.

It is also the most recent point our livelihood felt threatened, that our country might fall, and this was no idle fantasy – it was horrifyingly real. The last time we’d been threatened was the Spanish Armada, which led to the legend of Elizabeth I, Elizabeth Gloriana. The last time anyone had succeeded, we’d been armed with arrows, but this was actually likely to happen.

It was a point that re-defined our relationship with the sea, so long our protector and our provider, the sea at Dunkirk was as much our enemy as the German army.

It was the point that showed that the Nazis could be stopped, or at least slowed. The victories in the air especially, gave Fighter Command faith that they could defeat the Luftwaffe in the air. That summer, they did, and so Dunkirk was the start of the legend of The Few.

It was the point that defensive structures were hurriedly built across England’s green and pleasant land, structures that survive to this day. Ugly, purposeful structures that last as a reminder of how close we came.

It was the nail in the coffin of the policy of splendid isolation. It was the start of Britain as part of the international community, not dictating to it. It was, essentially, the start of Modern Britain on the geopolitical stage.

It was the end of the period of mourning after the First World War, and the start of a renewed, powerful nation. It was the start of a national sense of purpose that hadn’t been seen since the end of the First World War, and hasn’t been seen since the end of the Second.

It was the start (eventually) of a golden age, a time many look back on fondly. My parent’s generation, growing up in the shadow of the war, saw a new Britain evolve, one that was shiny and hopeful, they have experienced prosperity the likes of which had never been seen before.

It was the end of the retreat, as far as the British were concerned, and the start of the fight back.

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Hear our full review of Christopher Nolan’s Dunkirk on Episode 231:

List: Top 3 Movie Nomads

This week on Episode 234 of the InSession Film Podcast, inspired by The Glass Castle, we decided to talk about our favorite movie nomad characters. Depending on your criteria, this could have gone in several different directions, but we landed with some pretty great films and characters on our lists. Hopefully you enjoy them as much as we did. On that note, what movies would make your list? Here are the one’s that made ours:

**Please keep in mind that we each had different criteria for our selections**

JD

1) Travis Henderson – Paris, Texas
2) Wendy – Wendy and Lucy
3) Jesse – Before Sunrise

Brendan

1) Travis Henderson – Paris, Texas
2) Chris McCandless – Into the Wild
3) Billy / Wyatt – Easy Rider

Honorable Mentions (Combined)

Llewyn – Inside Llewyn Davis
Dwight – Blue Ruin
Kit / Holly – Badlands
Mud – Mud
Mike / Scott – My Own Private Idaho
Ben – Captain Fantastic
Max – Mad Max
Forrest – Forrest Gump
Seita / Setsuko – Grave of the Fireflies
Jack Dawson – Titanic

Hopefully you guys enjoyed our lists and if you agree or disagree with us, let us know in the comment section below. Depending on how you define nomad, your list could look very different than what we conjured here. That being said, what would be your Top 3? Leave a comment in the comment section or email us at [email protected].

For the entire podcast, click here or listen below.

For more lists done by the InSession Film crew and other guests, be sure see our Top 3 Movie Lists page.

Podcast: The Glass Castle, Top 3 Movie Nomads, The Big City – Episode 234

This week’s episode is brought to you by the So I Married a Movie Geek podcast! It’s a wonderful show that we highly recommend, subscribe today!

This week on the InSession Film Podcast, we discuss the latest film from Destin Daniel Cretton in The Glass Castle and also our Top 3 movie nomads. And finally to top off this week’s show, we continue our Satyajit Ray Movie Series with the 1964 film The Big City.

No guest this week but we had a lot of fun talking about Woody Harrelson, whatever the heck a nomad is and why Satyajit Ray is the master. The Glass Castle may have been somewhat disappointing, but it also gave us an excuse to finally review Short Term 12 on the show, so it’s still a winner in our book.

On that note, check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!

– Movie Review: The Glass Castle (6:25)
Grades
JD: B
Brendan: B

Top 3 Movie Nomads (41:09)
Using The Glass Castle as inspiration, we decided to talk about our favorite movie nomads this week. Depending on your criteria, this could have gone in several different directions, but we landed with some pretty great films and characters on our lists. Hopefully you enjoy them as much as we did. That said, what would be your top 3?

Top 3 Sponsor: First Time Watchers Podcast

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RELATED: Listen to Episode 232 of the InSession Film Podcast where we discussed A Ghost Story!

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Satyajit Ray Movie Series: The Big City (1:14:12)
Grades
JD: A+
Brendan: A+

– Music

Summer Storm – Joel P West
Guaranteed – Eddie Vedder
Mahanagar – Satyajit Ray
The Return of the Eagle – Atli Örvarsson

Subscribe to our Podcasts RSS
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InSession Film Podcast – Episode 234

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Next week on the show:

    Main Review: Logan Lucky
    Top 3: TBD
    Satyajit Ray Movie Series: Charulata

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Help Support The InSession Film Podcast

If you want to help support us, there are several ways you can help us and we’d absolutely appreciate it. Every penny goes directly back into supporting the show and we are truly honored and grateful. Thanks for your support and for listening to the InSession Film Podcast!

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Movie Review: Currents in ‘Wind River’ house taut thriller of relevance


Director: Taylor Sheridan
Writers: Taylor Sheridan
Stars: Kelsey Asbille, Jeremy Renner, Julia Jones, Elizabeth Olsen

Synopsis: An FBI agent teams with a town’s veteran game tracker to investigate a murder that occurred on a Native American reservation.

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The contrast in the opening moments conjures a marrow-deep chill: Twenty-something Natalie (Kelsey Asbille), exhausted and bloodied, running barefoot through moonlit snow while a voice gently recites some sunny poetry. Or lines of a eulogy. She eventually succumbs to the cold, frozen by the tree line with little semblance of serenity. Judging from how often and how many ways the austerity (this version) of Lander, Wyoming is shown, Natalie’s death is rendered as the definition of “a statistic,” a “c’est la vie” thing around these parts.

Casualties of the drug war in Sicario, the working class in Hell or High Water and now Native Americans – writer Taylor Sheridan’s third entry in the thematically connected American Frontier series again focuses on a (arguably purposefully) sidelined demographic, translating its plight into a two-parts engrossing narrative and one-part biting commentary. In terms of timeliness, Wind River overtakes Sicario and Water, what with trending items of late being the ongoing tussle concerning the Dakota Access pipeline and this tone-deaf tweet “helping” to preserve the country’s storied mistreatment of tribespeople.

While the reservation – whose name is also the film’s title – is the central setting, there is more reason to call it “prison” as the whodunit goes on. Everyone walking around Lander, not just those on that designated patch of land, has seen the elements deprive them of warmth, prospects and connection. Stern game tracker Cory Lambert (Jeremy Renner), after a “coyote repelling” session, goes home to news that his ex-wife Wilma (Julia Jones) will leave for good, toward a new job and scenery that won’t revive their late daughter. Novice FBI agent Jane Bremmer (Elizabeth Olsen) is the only form of support dispatched to the town’s local police; her experience and bewilderingly ill-suited clothing for the climate reflect how much the powers-that-be care for the natives. The demeanor of Natalie’s parents, particularly her father Martin (Gil Birmingham), suggests they have accepted the idea that they are prey to the land’s cruelty, but to see the daughter “chosen” as its first meal – can anyone prepare for it? In a gut-wrenching sequence, Jane, following the rulebook, ignores Martin’s line that his wife is still unfit for questioning, entering her bedroom and becoming stunned at the sight of a grief-stricken mother repeatedly slicing her wrist.

After this is a heart-to-heart, father-to-father discussion about “taking the pain,” now that Martin is living with the kind of sorrow that has haunted Cory for the past three years. Despite the lines’ leanness and the performers’ on-point delivery, this one of a couple moments of “on-the-nose”-ism highlights the weaker aspect in Wind River‘s screenplay, an issue that is also proof of a little-altered creative vision. Since Sheridan is also in the director’s chair here – just not for the first time as said by most publications, publicity and Sheridan himself (look up a 2011 horror called Vile) – what is on the page may get to leap on-screen unscathed. Still, the core mystery would have received extra potency had the film channeled Sicario’s economical beauty wherein things observable – acting, movement, framing and pacing – are prioritized over dialogue and its tendency to spoon-feed information.

Renner’s finest performance to date, Olsen’s ever-present vivacity and the surprisingly sharp humor (conveyed with mastery by Graham Greene as the reservation’s sheriff) — the dialogue-heavy nature allows these to surface, and with them the themes of gender politics, “out-of-water”-ness and cultural disparities. Sicario communicates them with elegance. Hell or High Water speaks more, though the showing reigns supreme. From the look of it, d.o.p. Ben Richardson and composers Nick Cave & Warren Ellis continue that pattern with cool-headed capturing of the bleach-white terrain and an airy score laced with eerie whispers, respectively. Richardson and Sheridan can also astonish with their ability to stage a gunfight, doesn’t matter if it occurs within the perishing walls of a drug den where young future-squanderers frequent or out in the open next to a grand oil rig that sullies the landscape.

At one point on the ride down Wind River, Cory finds Martin performing a death ritual, the latter’s face painted and spirit feeling the breeze. It is later revealed that Martin is doing everything off-the-cuff, uncertain of his proceedings since there are no elders left to supervise him. Both the guys’ (and ours’) laughter promptly morphs into a minute of reflection, of how the thirst for growth of one society can deracinate the prints that give existence to another. Martin seeks peace for Natalie, but where he does it isn’t far from a multi-lane freeway. Such a contrast forces us to ask whether Native Americans of the reservation, or Native Americans, will see a time when they are completely spared from the white man’s reaping.

Until then, Sheridan’s work cinematically addresses one of the coldest crimes to have ever been committed (and is still happening) on this star-spangled soil. And the statistics for it are under-reported.

Overall Grade: A

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Podcast review coming soon

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Movie Review: ‘Detroit’ is a mismanaged mess


Director: Kathryn Bigelow
Writers: Mark Boal
Stars: John Boyega, Anthony Mackie, Algee Smith, Will Poulter

Synopsis: Amidst the chaos of the Detroit Rebellion, with the city under curfew and as the Michigan National Guard patrolled the streets, three young African American men were murdered at the Algiers Motel.

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Detroit is a bleak, difficult film that finds its messaging a bit scrambled. From its docu-drama visual style, to its troubling torture scenes, Detroit attempts to fall under the historical epic category but instead finds itself in the “poorly made and disrespectful” category. The film does no justice for the historical events it is based off of, in fact it actually treats the events with little to no emotion. To some, Detroit may be an important film but since it is overflowing with violence, disrespect and false emotion that importance will be lost among many viewers.

Detroit begins with the riots that occurred in mo-town during the 1960’s. Jumping back and fourth between when the riots began and a rather specific event within the timeline of said riots. After highlighting the start of the events the film jumps into the incident at the Algiers Motel, where a group of police officers harass a group of African Amercian teenagers. The film has no real message whatsoever, there is no real beginning middle and end, it is one of the messiest films within recent memory.

Not only is there little to no story but the film just shows blatant disrespect toward the actual events. The movie is lit incredibly dark and sickly, the camera shots are shaky and uncoordinated and the film is edited almost like a horror movie. Instead of trying to prove a point like most historical films, Detroit just glorifies one horrible event after another. Instead of treating these terrible moments of torture and violence with grace and respect, the movie glorifies them. The one thing that this movie forgets to do is show us that the violence is wrong. Obviously, we’re humans we understand that the events that occur in the movie are immoral. But in film when exposed to moments of darkness and horror there should be some sort of saving grace. Detroit completely shies away from this. Instead of attempting to cheer up its audience it brings them even lower the longer the film drags on.

It gets to a point where the film almost has no redeemable qualities. The performances are nuanced and bring a certain energy to the film but this only occurs in rare spots during the film. The film is even crafted in an almost amateur matter which is shocking considering Kathryn Bigelow is in the directors chair. Bigelow has crafted some of the most exciting political films in recent memory and her visual style is typically focused and subtle. However in Detroit she strays from this and makes something much more amateur. It is almost disappointing to see something so flawed from such a talented director.

Detroit is an ill managed, chaotic film that cannot seem to make up its mind. Instead of focusing on a specific subject to discuss the film jumps around and around. Proving to be more disrespectful than an actual love letter to the historical events it is based off of, the film lacks in almost every aspect. There some small moments where the performances are done well but those moments are few and far between. The filmmaking craft is lackluster and Kathryn Bigelow has no made her first down right bad film. Detroit gives the illusion of importance but actually proves to be more frightening and disrespectful.

Overall Grade: D

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Hear our podcast review on Episode 233:

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Podcast: Short Term 12, Wakefield – Extra Film

This week on the InSession Film Podcast: Extra Film segment, inspired by the new film The Glass Castle hitting theaters this weekend, we discuss writer-director Destin Daniel Cretton’s 2013 film Short Term 12, also starring Brie Larson. We also review the overlooked indie film Wakefield, starring the great Bryan Cranston.

This week’s review of Short Term 12 is loooonnnngggg overdo. We somehow missed the opportunity back in 2013, but when learning of Cretton’s new film, we knew we had to take advantage and hopefully we delivered. We are big fans of the film and had a ton of fun diving into our deep love for its emotion and great performances.

On that note, have fun listening to this week’s Extra Film segment and let us know what you think in the comment section below. Thanks for listening!

Short Term 12 Movie Review (10:09)
Grades
Brendan: A
JD: A

Wakefield Movie Review (43:57)
Grades
Brendan: B-
JD: B-

This week’s episode is brought to you by our great friends at the True Bromance Film Podcast, Next Best Picture and The Atlantic Screen Connection Podcast.

– Music

Welcome to Short Term 12 – Joel P. West
Wakefield – Aaron Zigman
The Return of the Eagle – Atli Örvarsson

We try to make this the best movie podcast we possibly can and we hope you enjoy them. Subscribe today on iTunes and Stitcher and please leave us a review on iTunes. You can also find us on Soundcloud, PlayerFM and TuneIn Radio as well. We really appreciate all your support of the InSession Film Podcast.

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Short Term 12, Wakefield – Extra Film

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To hear this Extra Film episode and everything else we do, download our apps on the Amazon Market for Android and the Podcast Box app on IOS devices. The mobile app covers all of our main shows, bonus podcast’s and everything else relating to the InSession Film Podcast. Thanks for your wonderful support and listening to our show. It means the world to us!

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Movie Review: ‘Annabelle: Creation’ gives the doll a proper makeover


Director: David F. Sandberg
Writers: Gary Dauberman
Stars: Stephanie Sigman, Miranda Otto, Lulu Wilson

Synopsis: Several years after the tragic death of their little girl, a dollmaker and his wife welcome a nun and several girls from a shuttered orphanage into their home, soon becoming the target of the dollmaker’s possessed creation, Annabelle.

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Let’s not hover around the haunt: Annabelle’s first solo appearance is detritus. Of its 99 minutes, 6 are somewhat watchable, but bear in mind that they don’t arrive in consecutive order. Rather than making the shadows worrisome and unclenched an exquisite feeling, Annabelle motivates the body to do activities it tends to delay – make the next meal, check off those unread emails, finish assignments and so on – to reclaim your time.

Startlingly, nothing of the sort happens with Creation.

The film focuses on a group of orphan girls being relocated to a settlement distant from civilization, a move that recalls the opening of The Devil’s Backbone and Pan’s Labyrinth. This new place, a capacious abode of toymaker Samuel Mullins (Anthony LaPaglia) and his wife Esther (Miranda Otto), doesn’t take long to make a positive impression, particularly to Sister Charlotte (Stephanie Sigman) who oversees the girls and to polio-stricken Janice (Talitha Bateman) who is pleased with the stair lift that can safely move her between floors. With these many doors and crannies, Janice and BFF Linda (Lulu Wilson) promptly let the curious bug take over, entering the not-to-be-entered adjacent room once inhabited by the Mullins’ daughter, Annabelle aka “Bee” (Samara Lee – what a name!), who 12 years ago died in a car accident. Moving on seems optional for Bee when she is permitted to move into the titular creepy, porcelain and vacant-eyed doll. So was that even Bee?

Right from the impressively staged shocker of a prologue, Creation welds merit to two things: that the film will finally serve horror and thoughtfulness will be behind every frame. Director David F. Sandberg’s job here is easy – clear the ankle-high bar that Annabelle has set – yet we should be glad that he is on set with the over-achiever mentality. Similar to the Ouija series with Origin of Evil, the preceding installment’s shameless cash-in nature is replaced with a director who comprehends the genre. As doctors everywhere would claim, a break before giving the plaything another go can improve the quality of the experience, having found the time to reflect on mistakes and successes (mostly the former in Annabelle‘s case). Alternatively, just add Wilson to the cast as director Mike Flanagan has done, the 11-year-old starlet whose possessed – pun extremely intended – performance in Origin of Evil was an absolute highlight.

The knack to convincingly portray terror breaches cinematic universes in a different actress, too, as Bateman is the real-life sister of Lights Out’s child actor. While Janice’s physical drawback (Janice has a crutch) can be interpreted as a genre gimmick, Bateman’s sensitivity convincingly reframes it into another layer of frailty for her character, who at one point is dropped from considerable height after failing to escape the demon. Even when Janice no longer has a choice to hobble away from the fear (and becomes the source of it instead), Bateman still bewitches when she monstrously lashes out at the rest of the household.

Save for replications of The Conjuring’s possession scene and Lights Out’s violent pull into darkness, Sandberg packs Creation with jolts that petrify mainly – and, at this point in the genre, nearing novelty – through construction. This is Sandberg’s greatest strength, and those who have dared watch his ponysmasher shorts can agree, one that never fails to brew the sincerest form of dread. He understands that the violin’s unholy plucks won’t twist eardrums as much as the increasingly rapid footsteps barreling toward the character. Why settle upon the screeching entity when heightening the panic-o-meter better is a mute, walking white sheet? And when need be, switch things up – have light bulbs loosen themselves, or reveal evil being there with just a glowing pair of eyes in the darkness. To guarantee the tastiness of Creation’s bag of freaky tricks, on board with Sandberg are key players who have contributed plenty to today’s horror landscape, including Insidious’ series production designer Jennifer Spence and director Alexander Aja’s regular d.o.p. Maxime Alexandre.

Such flourishes can be seen as Sandberg filling in for the lackluster-at-worst and detached-at-best efforts from writer Gary Dauberman, a holdover from Annabelle. There is no going around the characters’ thinness and the scare-to-scare plotting as a result, but luckily passion fuels the performers’ delivery and recognition of the ingredients behind a veritable scare – simplicity and obscurity – are there in the director. Had these two are absent (again), Creation would have really dented the soundness of this “The Conjuring Universe”: profitable, but on unworthy substance.

Yet, in the same breath that Creation is not a time-waster, its major returns this time will be justified. In theory, Sandberg and company needn’t care for anything else besides their own film, but their efforts have made Annabelle an essential watch. At least up until John R. Leonetti’s footage meets the pre-sequel.

Overall Grade: B+

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Featured: Anticipating ‘The Glass Castle’

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Last week on the Episode 233, we talked about Kathryn Bigelow’s Detroit, a film that we had been looking forward to for a long time. Bigelow’s Zero Dark Thirty was one of the films that provoked us to launch InSession Film in 2013, and it was great to finally have her back so we could discuss her on the show. Similarly, in our first year of operation we saw the release of Short Term 12, one of the best films to come out that year. It was also the film that launched Brie Larson into stardom. Unfortunately though, we never found the opportunity to review that film on the show, a regret that we are going to remedy this week on Extra Film (stay tuned). So imagine our excitement when we found out that Short Term 12 writer-director Destin Daniel Cretton would be teaming up with Larson again for The Glass Castle, hitting theaters this week.

If you’re not familiar with The Glass Castle, it’s about a dysfunctional family of nomads who conjure up imagination as a way of escaping their poverty. On the surface, the film looks a bit schmaltzy (based on the trailer anyway) as we see how this dynamic of dream vs reality interweave itself throughout this family as the kids get older. It appears that Jeannette (Larson) will be the central focus as the film explores how she escaped that family life to create one of her own. I will say though, while the material here could lend itself to mundane melodrama, I can’t help but be optimistic given the prowess of Short Term 12. Cretton has already proved himself once – with Brie Larson at the center – so there’s no reason for me to not trust him. I am curious how he is going to manage the potential pitfalls of the story here, in particular the familiar tropes and cliche’s that the trailers amplify quite heavily.

Despite all of that, The Glass Castle still has a lot of potential, especially because of this cast and crew. Outside of Cretton and Larson, the film also features Woody Harrelson, Naomi Watts, Max Greenfield, Sarah Snook, among others. I don’t know about you, but those are names I can easily get on board with and they are great talents that can also transcend the aforementioned melodrama.

Subjectively speaking, I’m also a sucker for a good father-daughter/son story. So…there’s a good chance that I respond to this film emotionally even if the film isn’t that great objectively. I can’t help myself, it’s inherently a part of me. If that’s the case, it should make for an interesting discussion on Episode 234.

What about you? Are you excited for The Glass Castle?

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Here’s what else is coming to theaters this weekend:

Annabelle: Creation
Nut Job 2: Nutty By Nature
Naked (Netflix)
Ingrid Goes West (limited)
The Trip to Spain (limited)

Movie Review: Memories are human after all in David Lowery’s ‘A Ghost Story’


Director: David Lowery
Writers: David Lowery
Stars: Casey Affleck and Rooney Mara

Synopsis: In this singular exploration of legacy, love, loss, and the enormity of existence, a recently deceased, white-sheeted ghost returns to his suburban home to try to reconnect with his bereft wife.

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It is believed by some (perhaps many) that there is a life and an existence beyond the physical; what’s unknown is what sense of humanity (if any) crosses over with us. Are our experiences and emotions still similarly felt? Are they continually shared alongside other beings? Or is it an absence of feeling? Perhaps this inhuman experience is still a human one after all, and it is that exploration in humanity that permeates through David Lowery’s (Pete’s Dragon and Ain’t Them Bodies Saints) A Ghost Story, and out-of-body fable and meditation on the passage of time, closure, grief, and commemoration.

Sounds familiar to you? Perhaps this has become the formula for many “ghost films” these days, but Lowery flips the traditional ghost story notions on its head, reversing the polarity of their typically hokey messages that the memory and legacy of those who have passed on will live forever. Not only have these notions of memorial immortality become tiresome, but I question the validity in it. Does it really last, or is our legacy as mortal as our human selves? A Ghost Story states that perhaps it’s not just our ability to endure and preserve our legacy, but knowing that memories eventually die is maybe the closure we need to hear. It is also downright beautiful.

“Beautiful” may leave you in a head-scratch, especially if you’re familiar with the plot of A Ghost Story. Casey Affleck and Rooney Mara portray a loving couple, living together in what appears to be rural Texas. Affleck dies in a tragic accident, but chooses to remain a watchful eye as an out-of-body entity, complete with a child-like bedsheet and scissor-cut holes for eyes (surprisingly, there’s actually a narrative and medical reasoning for this). It’s a recognizably silly concept, something David Lowery himself is arguably aware of too, and yet the film achieves a striking balance in relishing in its weirdness while also transcending it. I already mentioned how Lowery inverts our preconceived notions of traditional ghost stories, and he continuously does that by turning A Ghost Story into more than just a meditation, but also an observation.

Affleck remains as a watchful eye on his lost love that continues for decades, experiencing time’s ultimate cruelty, observing without the ability to act (well, despite a few angry outbursts involving some kitchenware). As the audience, Lowery forces us to do the same thing; we connect with our central ghost as a mortal being (I swear I felt him emoting through those hole-cut eyes) and observe with him. We look for things hidden that may provide new meaning. We feel the weight of time through Affleck’s conversation with another ghost also awaiting closure; the use of subtitles could’ve backfired horribly, but instead maintains the film’s calmness. And that’s the strength in how A Ghost Story continuously transcends, in its favoring of patience and tranquility above all else (through its use of various long takes), and appropriately so, when time itself is arguably your main antagonist.

And for its sheer minimalistic approach, the film is a technical marvel in its own way. Andrew Droz Palermo’s cinematography and boxed-in aspect ratio creates an aura of imprisonment, and is still strikingly gorgeous in its emptiness. Daniel Hart’s score is pivotal in backing the film’s realism, and is arguably one of the best scores of the entire year; not to mention Hart’s own band Dark Rooms and their symbolically beautiful song “I Get Overwhelmed” (heard in both the film and its trailer). Then there’s Rooney Mara’s delicate performance; many will come out of A Ghost Story talking about the already infamous pie-eating scene, in which Mara devours an entire pie for over 5 minutes, in an uncut and stationary shot. We observe as Affleck’s ghost observes, and eventually witness a progression from guilt to punishment to grief, and that seamless escalation is beyond magnetic. It’s a moment many won’t soon forget (including Affleck’s ghost, despite his now inhuman existence), and that notion of forgetting is where A Ghost Story won me over.

It takes a lot for a film to elicit such wonderment in its audience, and in my case I found myself actively digging for repressed memories I may have forgotten during my lifetime. Not for nostalgia’s sake, but to see if I had the ability to do so. But failing to rekindle with such memories never feels like failure, but is instead something natural; A Ghost Story’s main moral is to inform of the mortality of remembrance, and as a result I was nearly weeping through much of the film’s back half. Memory as a human conflict parallels both worlds (our world and the next), and deliberately so, as the film’s final moments show the inevitability of forgetting; it depicts an ancient story of its own legacy that has been lost in time, as well as a moment shared between Affleck and Mara that Affleck’s ghost has already forgotten took place. All we can do is endure, in this life or the next. But would that make it any less human?

Overall Grade: A+

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