![]() This is a war movie that plays out not only by sea, but also by air and by land - all at once. Adding to our stress and excitement is the fact that Nolan, who is nothing if not a showman, has written and directed this story to unfold in three different ways, on three separate timelines, each distinguished by a distinct form of travel. Alongside Nolan’s struggling Allied soldiers, we in the audience are overwhelmed by the scope of it all, vulnerable to the tides of the movie’s plot. The film was shot in 65mm IMAX and seems absolutely dead-set on reminding us to watch it that way. There’s the fact that we’re set on a beach, dwarfed by ceiling-high shots of the sky and the equally vast tours of the sea. In Christopher Nolan’s brisk, tense movie, this all tends to be, on average, pretty interesting. After the bombs hit and the air clears, the men who survive get back up to keep waiting, watching as the Royal Navy vessels sent to save them get downed, again and again, by German planes. The year is 1940: The stakes couldn’t be higher. ![]() Completely exposed to German attack, these British and French soldiers, numbering more than 300,000, are waiting for evacuation from the beaches of Dunkirk, France, where their army has been forcefully separated from their allies, making them susceptible to a devastating massacre - a massacre that would win Germany the war. They fall by the thousands: a cascade of cowering, vulnerable soldiers with nothing to hide beneath save their helmets, beach brush, and occasional debris. ![]() When bombs drop in Dunkirk, every man in sight falls to take cover.
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