Skip to main content

Why 1917 should win the best picture Oscar

We start our annual series with the frontrunner: Sam Mendes’s cinematic groundbreaker, which immerses us in the horror of war as never before

Ever since All Quiet on the Western Front, the least we’ve come to expect from a war-is-hell actioner is grungy realism. Yet in Sam Mendes’s 1917, the trenches are dry, wide and handsomely constructed. Uniforms look fresh out of Brooks Brothers. Even the rats seem pet-shop friendly. The flatlands of Flanders improbably furnish rapids and a plunging cataract, while corpse-strewn, shell-ravaged battlefields quickly give way to flower-strewn meadows. The incineration of a town becomes an alluring firework display.

This unconvincing backdrop foregrounds cardboard cutout protagonists devoid of backstory or interiority. Minor roles are cliched caricatures, peppered with pointlessly distracting star cameos. Wooden dialogue limits the scope for acting prowess. A bald, subplot-less storyline embraces both sentimentality and implausibility, as our hero-in-a-hurry takes time out to succour an abandoned baby with milk he happens to have picked up on the way, and skips across no man’s land miraculously immune to shot and shell.

Continue reading...

from Culture | The Guardian https://ift.tt/2Rv2FUl
Labels:

Comments

Post a Comment

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4
Post a Comment
Read more

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV
Post a Comment
Read more

When Brooklyn was queer: telling the story of the borough's LGBTQ past

In a new book, Hugh Ryan explores the untold history of queer life in Brooklyn from the 1850s forward, revealing some unlikely truths For five years Hugh Ryan has been hunting queer ghosts through the streets of Brooklyn, amid the racks of New York’s public libraries, among its court records and yellow newspaper clippings to build a picture of their lost world. The result is When Brooklyn Was Queer, a funny, tender and disturbing history of LGBTQ life that starts in an era, the 1850s, when those letters meant nothing and ends before the Stonewall riots started the modern era of gay politics. Continue reading... from Culture | The Guardian https://ift.tt/2H9Zexs
Post a Comment
Read more