Darkest Hour

So many people to save, so little time.

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With an impossible task ahead, Winston Churchill is promoted to the role of Prime Minister, will little hope of resolve in the impending doom of WWII.

Gary Oldman takes center stage as Churchill to bring one of the greatest stories in recent history to the big screen, and I can think of no better man to do it.

A story as well known as this one is always somewhat difficult to reinvent and captivate, but director Joe Wright seems to have taken it in his stride, with the minor details becoming major details in this most unusual retelling of history.

What begins as a nose dive into a war engulfed Britain, soon becomes a noisy mess, as viewers are resigned to witness a slow slog of heavy dialogue, which makes this film feel like a long haul flight with no sign of any available parachutes.

Though this film may lag at points, the overall content provides an insight into one of the greatest minds this country has ever seen and reveals the baffling conflict of WWII politics, as the brunt of war is encrypted in secrecy.

The Death of Stalin

Making light of dark situation doesn’t get much more fun than this.

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After the death of one of the soviet unions most infamous leader, his Conrad’s enter into a battle of the fittest as they go head to head to bag the top spot.

With a striking cast and an equally hilarious script, the film gives audiences something to laugh about from the offset.

Though the humour is dark, the director presents the comedic scenes with such effortless charm that you almost forget the seriousness of the scene that is being displayed before you.

Despite the film being primarily of a comedic nature, the dictator-based vengeance that lies beneath the surface brings with it a rather grim perspective, resulting in bloodied scenes of violence and torturous spitefulness.

Goodbye Christopher Robin

The tragedy that laid beneath Britain’s most heartwarming bedtime story is brought to the big screen with an unapologetic awakening.

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A.A. Milne’s work has a place in most peoples hearts for his marvelous creation of Winnie-The- Pooh, but what most people don’t know, is the trouble it brought to his family life to get this little bear onto a page.

As the film broadcasts the tale of Pooh’s inception, it too caresses the delicate drama that comes with, from father-son bonding to relationship woes, the script manages to capture the life of this great writer, with little hope of under-fabrication, the storyline is brutally honest and leaves little to the imagination.

With Domhall Gleeson as Milne and Margot Robbie as his wife, the casting was certainly unexpected. Though despite this seemingly unlikely pairing, the two have a unique chemistry which works remarkably well alongside the intensively captivating and at sometimes, unnerving, script.

Whilst the film does not idealize the happy-go-lucky bear we all know and love, it does leave one grateful for the sacrifices made by the Milne family, in a bid to bring happiness in an unrelenting post-war world.


Historically magnificent, with visuals that show the true meaning of cinematic idealism; Christopher Nolan has certainly put a worthwhile dent in War dramas that will not be forgotten.

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From visually stunning landscapes showcasing the scale of the Dunkirk evacuation of 1940, to a low impact dialogue of acting, this film takes its audience back to a time that many have forgotten and leaves them winded with enthusiasm for the sheer scale of breathtaking film footage, that many film-makers could only dream off.

By using snippets of  numerous storylines to cover the impact that was felt by all involved, Nolan was able to construct a film that demonstrates the hurt and loss of such a large scale evacuation, whilst still showing the unbelievable strength of civilians who crossed the channel to rescue some of the 400,000 soldiers stranded on the beaches.

This is a film that will remain an important cinematic venture, showcasing a phenomenal piece of history that will go on to educate audiences both young and old.


Their Finest

Authenticity, optimism and a dog; what else could you possibly need for a wartime film?

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A married woman and screenwriter find themselves thrown together in a 1940 war-tired Britain as they are commissioned with the dubious task of creating a film worthy of American style propaganda.

Gemma Arterton and Sam Claflin take on the lead roles in this period drama, both of whom manage to fill their roles with heroic integrity and lighthearted humour. Whilst Bill Nighy claims a supporting role; a position which he fills with effortless talent and his ever-so-unique orchestra of hand movements.

The styling and costumes of both set and stars is conveyed with staggering ease, propelling the audience into 1940’s London with an instant glance.

The Direction too is nothing short of magnificent, but nothing else would be expected from Lone Scherfig, the director of similarly natured films such as An Education (2009) and The Riot Club (2014).

Though the story does have relentlessly unpleasant twists, the plot remains humble to its era and clearly everyone involved in the production has ensured the sincerity of the war remained an integral element.