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I tend to avoid most celluloid representations of Northern Irish Troubles - the longest running terrorist campaign in Europe, costing approximately 3000 lives and hundreds of millions of pounds in property damage and displacement - as oversimplified, glossy and biast; The Devil's Own, The Jackal, The Sons of Anarchy (particularly the last) portray Belfast either as some kind of South Central Los Angeles, or a gaudy Roger and Hammerstein set, with preconceived notions of The Troubles, and frankly unrealistically romantic portrayals of (usually Republican) paramilitaries.

'71 offers a gritty change of direction and pace. Told from the bewildered (and bewildering) viewpoint of one Gary Hook (an excellent portrayal by Jack O'Connell), a young British Army private marooned in Belfast - he's still in the UK his mates are assured! - after a supposedly straightforward raid goes drastically wrong; we're sucked nto a grimy, claustrophobic race for survival; Gary's race is our race. Hotly pursued by a Provo hit squad, Gary soon learns shocking lessons about trust...

Perhaps the thriller element does get somewhat overdone - not as much as Fifty Dead Men Walking, mark - but I was genuinely impressed at the attempt made to grasp the nettle of the turmoil in the early Seventies and break it down for the outsider; how often has the Official v Provisional split been discussed or portrayed in film? The Loyalists are mostly comic relief, but an attempt is made to portray them as real people...just like the ordinary Catholics who risk their lives to aid the stiken Gary.

Sean Harris deserves a mention as the devious Military Reaction Force officer (a real undercover outfit) running numerous Protestant and Catholic players; and contrary to some reviewers, barricades and vigilante patrols were fairly common during the early part of the decade - did he never hear of Free Derry?

This is an honest attempt to unravel the confusion of Ulster's tragedy for the perspective of a confused outsider, particularly a lone British soldier; it deserves praise for its insight and bravery.

Tracking a young British soldier who fights for his life after being stranded by his unit on the vicious streets of Belfast, this 1971-set thriller is as grubby, tense and frenetic as the Northern Ireland conflict itself. Debutant Yann Demange does a sterling job in the director's chair, bringing a Paul Greengrass-esque urgency to the action with a combination of regular close-up shots and (not-too-shaky) hand-held camera work. Demange wisely opts for a quality over quantity approach to the brutal violence too, resulting in a few impactful events of savagery and gore that enhance the tension and dread rather than exploit it. Occurring over one night only, Demange – working from Gregory Burke's sparing, taut script – wrings suspense from moments as small as an uncomfortable conversation in a bar, and as big as a cat-and-mouse set piece in an apartment complex or the dazed aftermath of an explosion. It's not all smooth sailing though. The relatively unexplained bookending scenes are a tad cheesy and add little, whilst the bulk of the supporting characters are rarely more than stereotypes, albeit played with gusto. But this movie unmistakably belongs to lead actor, and recent BAFTA Rising Star winner, Jack O'Connell. His Private Gary Hook is resilient yet fragile, strong-willed yet frightened, making him a relatable everyman who will do anything to stay alive. It's not a film you could call "fun", but it's a riveting watch that rewards those willing to be immersed in its gritty and uncompromising survival story.

I will be honest and say that I generally am touchy about films using the sectarian terrorist organizations, the troubles, or other aspects of Northern Irish politics as a base for thrillers or films – mainly because when they do, they do so in a rather heavy-handed and thoughtless way such as The Devil's Own, The Jackal, or many other such films. So with '71 there is a certain odd feeling that uses the streets of Belfast in the early 1970's as a launching point for a thriller involving British soldiers, terrorists on both sides of the divide, the RUC, and civilians of the time. This is not only an odd feeling that I had, but it is also one that the film itself seems to be all too aware of.

To talk generally the film does provide some good tension, with its fast pace, shifting ground, and hand-held camera-work; when it is doing this it is fine – not perfect, but fine. The sense of being trapped between all sides is apparent, and with the stakes high it does move well with what it does. The need to have all the players be clear and be positioned does rather reduce the pace a bit, but what does limit the film a bit is, ultimately, the politics of it. So, for some of this it is not the film that does this but rather the viewer – I guess particularly if you are familiar with the Troubles then it is hard to detach your personal opinions from the drama, which can make some of it harder to get into. The bigger thing though is that the film itself is conscious of this being a real situation, and as such it does know it carries a certain weight with it compared to if it had created this story in a fictional situation.

The cast carry this weight too, although mostly they do play out their characters as a more straightforward thriller – which helps the film be just that. O'Connell, Harris, Dormer, and others all play solid roles in the thriller side, even if the weight of the politics stop them just being genre devices, or being too details as real people. The pacing and structure of the film is good, and mostly it does manage to present the city streets of the Belfast roadblocks and no-go areas as oppressive and ensnaring if you are on the wrong side of them.

So as a thriller it mostly does work well thanks to the shifting narrative, and pace of delivery, however it is a film that senses the weight of the real story that it is using for the purposes of the thriller, and this knowledge does make a difference across the delivery.

Understanding the intricacies of the Troubles is by no means an easy task, but director Yann Demange has done an excellent job of presenting this conflict in '71. Demange made something of a name for himself on British television, directing the E4 horror series Dead Set and Channel 4 crime drama Top Boy, and this success has translated very well into a film with much larger political significance.

The characters of '71 are very much forged by their on-screen experience. Little backstory is given to the protagonist, Gary Hook, portrayed by Jack O'Connell, yet he gives a compelling physical and visual performance with an almost empty script. The intimate, personal atmosphere of the film makes the political conflict much easier to grasp for the viewer and the diversity of the opposing factions and characters shines through with an excellent supporting cast.

The only flaw I could find in the film is its difficulty in exploring the "why" behind the conflict we witness on our screens. This in itself may play into the story, however, as British soldiers expecting to be sent abroad found themselves much closer to home, in a conflict they themselves didn't fully understand.

The Troubles are a criminally under-taught and under-represented period so '71 offers an intriguing glimpse into the unrest and disorder that regrettably continues to this day.

In 1971 I was living on the fringes of Derry's Bogside. On several occasions my home was 'collateral damage' in a number of bombings and I remember lying on the floor of my bedroom in case I might fall victim to a stray bullet from one of the gun-battles raging outside. I drank in pubs that would be bombed in time and I was on the march on Bloody Sunday. Things were bad in Derry in 1971 but they were a lot worse in Belfast which is where and when Yann Demange's terrific movie "'71" is set. Maybe it's because I had first-hand experience but I've never really taken to films about 'the Troubles'. Irish film-makers have usually shied away from the subject, (a rare good exception being Jim Sheridan's "In the Name of the Father" and that was set mostly in England), leaving it up to the English and the Americans to tackle them, mostly ineptly, (exceptions again being Alan Clarke's made-for-television film "Elephant" and Steve McQueen's "Hunger"), so my expectations of "'71" were far from high, yet I believe this will be the film about the Northern Ireland 'Troubles' by which all others will be judged. Firstly nothing happens on screen that seems far-fetched or exaggerated, (and here is a film that doesn't pull its punches in showing the collusion between the British Government and paramilitaries on both sides). It's a film that could never have been made in the seventies and even 20 years ago it would have been banned here in Northern Ireland. Politically, it's dynamite but it's as a nail-biting, nerve-shredding thriller that it really makes its mark. In may respects it's a very minimalist work, taking place almost entirely over the course of one night and is really made up of two lengthy set-pieces. It's about Private Hook, (a superb Jack O'Connell), a young British solider who, on his first day of active service in Belfast, is separated from his platoon and forced to go on the run in a totally alien landscape where he is seen as 'the enemy' to be hunted down and killed. We've seen this story before. In "Odd Man Out" James Mason was the IRA man on the run in an equally treacherous Belfast but as they say, it's a tale as old as time. Outstanding American examples have included "Deliverance" and "Southern Comfort", albeit in very different settings, but few have packed the punch of "'71"; this is a terrifyingly tense thriller.

It's also the feature debut of Yann Demange who handles the material with all the assurance of a Paul Greengrass. He shoots it as if it were a newsreel, using mostly a hand-held camera, (the DoP is Tat Radcliffe), putting the audience in the centre of things. For once, all the performances are superb. In the past actors playing either Ulstermen or the occupying forces have often been reduced to nothing more than mouth-pieces; not here. Everyone on screen is utterly believable. This is one of the finest films you will see all year.

It took me a while to finally give this film a chance, but I actually do not regret watching it. It was enjoyable, had a great pace, and had enough unexpected twists and turns to keep you guessing. The movie was also full of characters who seemed weak but faced stressful situations that they did not look like handling, and that created a lot of tension in the movie. An element, as I always say, essential if you are to like a movie. Being a foreigner, I don't know if this is based on real events, but either way, I thought the movie was definitely better than the rating its given. I have seen a lot worse with ratings of 8 or above on IMDb.

Set against the complex backdrop of the beginnings of Northern Ireland in 71 but before Bloody Sunday really turned the tide in the favour of the IRA in 72 this is an extremely well made taught piece of drama. With an assured performance by rising star Jack O'Connell in the lead, he plays a young soldier Gary Hook recently deployed to Northern Ireland who finds himself out of his dept when going on his first patrol thanks to the incompetence of his CO (Sam Reid) - Separated from his unit and lost in a city he doesn't know he's forced in a fight for survival as its hard to tell who is friend and who is foe in this extremely well written piece of drama. The writer here has taken care not to paint one side entirely good or bad and that is how it was. Wounded and armed with nothing but a knife Hook has enemies closing in from all sides as the film draws to a bloody climax.

I don't want to be accused of gushing praise, but there is much to compliment the whole team involved here, from the tones of the production design, beautifully capturing the mood feel and look of the 1970's in drab pastels and the grey of urban decay. The editing, directing, lighting is all bang on the money but greatest of all is the casting, for it is not only O'Connell who shines here, but the younger members of the cast almost upstage him with their brilliant performances. Two stand outs of the younger cast were Corey McKinley (Listed rather almost like an extra on here as 'Loyalist Child which seems a little unfair) and Barry Keoghan - The former is clearly a star in the making with his ballsy performance while Keoghan with almost no lines makes an amazing impact with simple looks conveying the struggles of emotion he feels inside when it comes to committing to a path of violence. Veterans Sean Harris brings his creepy presence to the duplicitous under cover unit commander but it is an energetic performance by O'Connell that brings it all together. Let us hope we do not loose him to Hollywood entirely. The film also takes time to give Hooks character some context, so we have some idea of his own life and attachments back home. A man almost without a family but not without people who are depending on him, this is a true depicting for many whom join the army, an alternative to spending life on the dole.

This film is living proof that we can make thrilling and exciting cinema in the UK but still leave some room for Social Commentary within the context of a great story - an excellent thriller which hints at the dark path that was to follow in Northern Ireland for many years. Strongly recommended.

I felt this was a film about N Ireland made for audiences outside N Ireland. As with many films portraying my home country, most of the accents made me cringe. Also, the effect of a burning car or bus at the end of ever street was overdone. As for the pints of Guinness served like pints of bitter ..... Life was bad during the troubles, but not that bad. The film didn't gloss over the life of a squaddie, being required to do things and be places they probably had no understanding of. The quote about army life, which seems to be used in most media discussions, "the rich telling the stupid to shoot the poor" sums it up well. The portrayal of the role of special ops and their relationship with all sides in the conflict would probably be educational for those with a limited knowledge of N Ireland's history over the past 40 years. I'm glad I saw this movie but I have little inclination to watch it again.

"71" (2014 release from the UK; 100 min.) brings the story of Gary Hook, a British soldier. As the movie opens, we see Gary training with the rest of his platoon. It isn't long before they are informed that they are being sent to deal with "a deteriorating situation in Belfast". Before shipping out, Gary spends some quality time with his son. Upon arriving in Belfast, it isn't long before the platoon is sent out in the streets of Belfast. Due to a blunder by the platoon's lieutenant, soon they find themselves in the midst of a street riot, and they retread. In all of the confusion, Hook is left behind and he runs for his life, being chased by several Catholics bent on killing him. At this point we are 15-20 min. into the movie. Will Hook make it out alive? To tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Several comments: this is the feature debut from French director Yann Demange, and what a remarkable debut it is. "71" is both a top notch political movie and action thriller. How many movies can make that claim? The tension that builds up in the street riots is incredible, and remain palpable later on. Once Hook escapes the first immediate danger, he catches his breath, and only then realizes the horrible position that he finds himself in, and every choice he makes from here on out can be the wrong one. As to the political side, things are not clearly black and white, and in fact the comment is made several times in the movie that "the situation is confused" and we can't always tell who the "good" guys and the "bad" guys are. I suspect that this is an accurate reflection of how things were like back then in Northern Ireland. The cast is, for me anyway, a cast of unknowns. Jack O'Connell as Hook brings an incredible performance. Last but not least, there is an outstanding score for this movie, courtesy of David Holmes (best known for his scores from the Ocean's 11-12-13 series).

The movie opened finally opened this weekend at my local art-house theater here in Cincinnati, and I couldn't wait to see it. The early evening screening where I saw this at was attended okay. Even though I had high expectations going in, they were met, and then some. In fact, the only negative point I will mention is that at times I had trouble understanding all the lives, due to the (fake or real, I'm not sure) Northern Irish accents. Bottom line: if you are in the mood for a top notch quality political and action drama, you cannot go wrong with this. "71" is HIGHLY RECOMMENDED!

Many other reviewers have commented the apparent authenticity of the production, it certainly feels like the time it was set in both in terms of costumes but also the camera-work - the "mise en scene" if you wish to call it that...

The narrative is very efficient. We are briefly told the story of a recruit in the British army as he receives training and then is promptly sent to Ireland. There are a few clichés that raise their ugly heads, for example the well meaning but inexperienced Lieutenant who ignores his sergeant and exposes his men to unnecessary danger - a trope of so many Vietnam films.

His mistake leads to one soldier being cut off from his platoon and having to try to navigate out of enemy territory. The complexity of the 'troubles' leads to confusion over who he can trust as IRA gunmen, protestant paramilitaries, and his own side, hunt him for very different reasons.

Unfortunately the film cannot carry the terrific pace and tension of the first 30-45 minutes and after a dramatic scene mid film the story unravels somewhat as it searches for an ending. Some rather clunky twists in the final half hour cheapened what was otherwise a very good film and reduced it, in my opinion, from a great effort to just above average.

Jack O'Connell plays Gary Hook, a private in the British Army sent to Belfast, who finds himself separated from his men during a raid that turns into a riot. His mission thereon is to survive the night and get back to his barracks. This is the entire plot – or perhaps should have been. Events are complicated by Captain Sandy Browning's (Sean Harris) undercover operatives, whose methods are, shall we say, 'questionable' and whose allegiances are 'fluid'. I wonder about the casting of the ever-excellent Harris in a role that seems to demand brawny over creepy, but it shouldn't detract from what is a very accomplished directorial debut from Yann Demange.

Gregory Burke's script stripped down to the point of sparseness. There's a moment when a sympathetic doctor explains the entire structure of the military hierarchy through a handful of choice words, three of which are the same and begin with "C". The screenplay is merely a vehicle for the experience of one soldier – one pawn – as he witnesses someone else's war from the inside. It's an intense experience; a brisk exercise in tension and spasms of violence, rather than out-and-out action. Mirroring the horrifying situation in Northern Ireland at the time, there's a sense that anyone can die, any time, in the blink of an eye. The evocation of the period is impressive, without resorting to TV clips and newsreels; instead, it's all crap cars, crapper clothes, and mum-hair.

As high concept thrillers go, there are no new ideas as such, simply a new setting in which to deposit those old ideas. Permeating is an air of John Carpenter's Escape from New York – and I would have preferred more Carpenter luridness and less Greengrass realism – as well as hints of Children of Men, particularly in one single-take sequence involving a pub bombing.

Demange doesn't shy away from the violence but nor does he shy from the effects of doing violence to others. This is a film about the perpetrators of pain, briefly exploring the theme of culpability. Hook is just a grunt, put in a situation where he must kill or be killed. Can he be held responsible for what he must do next? Embodying this anguish, it's another very strong performance from O'Connell. '71, Starred Up, and the forthcoming Unbroken should cement him as the new British face of brutal cinema.

I'm not sure '71 is a film to be taken totally seriously – indeed, it never quite resolves its dual identity as a chase-'em-up and an issue movie – but Yann Demange is a serious new talent to watch.

War tends to find its way in movies the way a car chase, love triangle or training sequence does, as a backdrop for profound introspection (Apocalypse Now) or profound absurdity (Battleship). '71, directed by Yann Demange, which screened at the New York Film Festival, does not concern itself with the impossibility of unraveling the politics behind violence, or implant an over-the- top action sequence, but uses the Northern Ireland conflict of the late 60's and early 70's as context, not base.

The Catholic/ Protestant, or even English/ Irish conflict is not covered in great detail which allows the film to construct its own sensibility: a netherworld where an English soldier sent to Belfast, Gary Hook (Jack O'Connell), must find trust and a way back. Houses are not homes, but bunkers for families supposedly hiding guns and trying to raise children. Bombs are the weapons of choice and children are the only ones with answers, creating a sci-fi texture to the film. This is a thriller and the plot is something you can find out about when you actually see the movie.

War, conflict (whatever you want to call killing a bunch of people) is an abyss not just of death, but of trust—who values my life? No one. Yet Demange does not attempt to make an affected statement about war, and focuses on the grey of the conflict with Gary as his sharp, contrasting center. As Gary slowly emerges through the desolate streets of Belfast he is greeted by a boy (Corey McKinley) who seems to be his only salvation. The boy struts, demanding respect as he cusses out his fellow "comrades" in a scene that could be strait out of Blade Runner.

During the Q&A after the film Demange recalled not wanting McKinley to rehearse too much, he didn't want an actor, but a real boy who in such a setting needs an armor of bravado to stay alive. McKinley, who Demange found at a boxing ring (he's 9), preferred boxing to rehearsing in between scenes, and it paid off. Besides O'Connell McKinley is the most memorable actor in the film. O'Connell, who made a mark with This is England and the series Skins, recently burst into films consciousness with the prison drama Starred Up, and is about to find himself in epic American waters with Angelina Jolie's directorial debut Unbroken. At only twenty-four years of age O'Connell has managed to create a provoking and mature persona. With a gruff low voice and edgy exterior, O'Connell brings a swagger which is unparalleled as almost every scene belongs to him and the film works because of him.

I am a bit afraid after his American debut, O'Connell will somehow loose his edge, but he comes across as smarted than the Hollywood unconsciousness. He has a lot to give us and this is only the beginning, handle with care (300: Rise of an Empire, yeah he's in that). Although thrillers tend not to be my cup of tea, I like developed characters and layers of plot—'71 takes place in the span of 24 hours—it is still an exceptional piece mainly due to O'Connell's masterful performance, Demange's restrained direction and Tat Radcliffe's stylized cinematography.

'71 is still making the festival rounds and does not yet have a U.S. release date, but will be released in the U.K. on October 10th.

@MeMontgom filmnoises.com

Introduced by a hard-hitting boxing fight; the ethos of '71 is immediately understood. It is brutal, thrilling and an utterly dramatic directorial debut from Yann Demange.

Part of a new regiment, Jack O'Connell's lead character, Gary Hook, is deployed to Belfast, Northern Ireland to help control an emergency situation caused by IRA terrorism. Gaining an essence of Full Metal Jacket meeting I am Solider – the film is quite honest in what it wants to be, and the narrative because of it flows consistently in the right direction.

Sent into the front-line urban warfare, Hook's regiment, under the command of Lieutenant Armitage (Sam Reid) is quickly bombarded with urine and pooh packages. Then quickly followed by one of the most realistic, violent and dramatic riots that has ever appeared in film.

Soon, Hook is separated from his group and forced to survive as a lone-wolf in the devilish-toned IRA hostile territory. All quickly intensifies to an incredible Bourne-style chase through the streets of terror; what with the cars alight at each corner, crisp cinematography - everything feels authentic.

'They do not care about you, to them, you are just a piece of meat' – one character announces to Hook. But how wrong they are, as '71 soon turns into a game of cat vs. cat vs. mouse in a hunt of find him first.

Led by Jack O'Connell (Starred Up), his performance is uncanny – but just one of the many highlights that '71 serves up. Co-starring alongside, Sean Harris and Paul Anderson play undercover superiors, yet are as corrupt as Bad Lieutenant.

Regimented like the army, '71 is on point. Everything is there for a reason, and it shows on screen. Struck with luck, but unlucky to have been there in the first place, Jack O'Connell prospers and carries the film even when it is unneeded and secures it as one of this year's best thrillers.

This film follows a British soldier who gets left behind in Belfast and has to survive the night whilst being hunted down by the enemy. '71 had some moments of intense action, thrilling suspense and plenty of emotion, meaning it had something in it for everyone. When i heard it was another war film, i instantly got an image of what i thought it was going to be but to my surprise it was very different from your average war film. In some ways better and in some worse. The best parts of this movie were when it was focusing on your main protagonist played by Jack O'Connell and showing the different emotions he was going through. You really get o see how certain experiences damaged or changed him and forced him to find ways to survive. This powerful performance is why i liked the first half of this movie more than the second, after the soldier gets lost in Belfast i felt that the film focused a little too much on the secondary characters. They just weren't as well developed and interesting to keep me invested. The second half although did have some intense edge-of-seat moments that helped me get through it. The main downside of this film is that the plot really wasn't all that interesting, it tries to engage you by setting up multiple characters, some of which have ulterior motives but none of them except for a young boy were that interesting. There was some shaky cam in this movie also that at some times was effective but at other times felt a little annoying and unnecessary.

This film was a little bit of a disappointment for me after hearing so many good things about it. Despite the let down with the plot the performance by Jack O'Connell will still get you through the movie just enough to be able to enjoy it. - 6

What a roller coaster of a film from beginning to end - Jack O Connell is brilliant and the supporting cast are thoroughly believable and the acting top class- my favourite star for the future Corey McKinley who plays the loyalist boy; he highlights the difference between Catholic and Loyalist which make the film a history lesson as well as a movie- its an advert for the British Film Industry - when making a film about the troubles to capture the mood of the time and to bring that to the screen depicting the different factions and hatred that came with it is difficult but whoever researched the period, got the costume and feel of the City of Belfast spot on created a Gem. The riot scene felt as if you were there in the thick of it, the building tension between the thin barricade of soldiers and the baying mob. This film is worthy of awards and I hope it gets lots as it will encourage others to make similar movies. Go and see it, ignore some of the inane comments on here that this isn't true- believe me having been on the receiving end of a riot at the Divis flats mid 1980's I can tell you it was like reliving the moment. The film captures the distorted angry faces the looks of shock and fear- very well made film indeed

Despite the gripping action I found this movie mainly a bit empty without a good script and under the photography and camera aspects either.

I do generally like the "run to survive" movies, but this one didn't let me to get involved. Everything flows in a rather flat without much emotion, if not, a couple crude scenes.

It is not a bad movie, it is enough gripping for the most of the time, the plot is interesting and it definitely can worth a watch but it was not as good as I expected and as it could have been by paying more attention to some of the above parameters.

6+/10

Really good film about the Troubles in Belfast, filmed mainly in my hometown of Sheffield. Only problems I found were a few of the props (the Burning Bus which appeared to be a Leyland Titan (sorry I'm a bus spotter) which wasn't introduced until 1977, where this film is supposedly 1971)

Other than little details like that and being able to recognise Sheffield scenes being portrayed as Belfast (Divis Flats was really Park Hill Estate) it was a very enjoyable film

Noticing one reviewer's criticism of the accents, I wonder what film they watched. Nearly all the Irish characters are played by Irish actors, and from the cast list, many or most of those look to be from Northern Ireland. To my ear the accents are spot on, which they would be. Of all things to criticise, that's not one.

Great acting throughout, a brilliant soundtrack that keeps you on the edge of your seat without even realizing there is a soundtrack. Shot in a way that makes you feel part of the action. A good job with the film settings. The Divis Flats were demolished in 1993 but the filming location used was a good replacement.

Well worth watching .

This movie manages to be thrilling throughout as the character tries to survive the Troubles. However, the last 20 minutes or so unnecessarily overcomplicates the plot with contrived twists. Also, a more minor flaw, but the characters could've been developed a bit more.

I appreciate the realism in many of the parts of the movie, such as the inept bomb handler. Handling bombs isn't always easy.

+ Thrilling

+ Realism to it

• Flawed plot in last 20 minutes

• Characters could be a little better

I can't give it the best rating, so I'll give it a 7.

You know when you have a really nice meal and look back and wish you'd been a bit hungrier for it?

This emotional power house about the stresses of war, where each side is morally questionable force to be reckoned with where one is glad for being around your own and the anger to the other side is incendiary.

I want to call this more than a thriller. This doesn't really have a message beyond conveying the noise and confusion of sectarian violence that hits a nerve harder than MOST horror. Most.

The main character is a bit simple but it's not really about him. We get a tense and uncompromising depiction of humanity at its most organized, it's most brave and its most horrible.

The tense scenes were fantastic and at times 71 was shocking, gripping and captivating. For me the first 30 minutes where you are introduced to the characters, the armies and authorities and when the British Army are deployed in Northern Ireland, were stand out, especially compared to what followed.

Apart from a few dodgy accents, I thought the acting was great. Jack O'Connell was brilliant, but not given as interesting role as he was previously in Starred-UP.

However 71 was let down by it quickly drifting into a thriller/action film, when Jack's character is left abandoned behind territory lines. From this moment on I encountered the scenes of violence more pornographic than necessary. All seemed a bit crass and typical.

I would recommend seeing it, but ultimately it was a let down by the story-telling of one character rather than actually digging deep into the political problem. Shame.