1917

I sat in a packed yet silent theater this morning and watched, what I believe to be, the next Academy Award winner for the Best Picture. I'm not at all a fan of war movies but I am a fan of great movies....and 1917 is a great movie. I have never been so mesmerized by set design and direction, the mass human emotion of this film is astonishingly captured and embedded magically in the audience. It keeps running through my mind...the poetry and beauty intertwined with the raw misery of war. Treat yourself....see this movie!

It's a stunning watch from start to finish. The amount of work that went into this film alone deserves your attendance, and even then, the story never stalls, and has a fair balance between war and humanity, and has some of the most incredible camera work I've seen in a while. It's hands down my favorite film of 2019.

1917 is a poem. Is the most deep, impressive and realistic way of seeing what kinds of things happened in WWI. This movie made me leave the movies with tears in my eyes as if I have had a time travel experience to the World War I, and then waking up and realizing how wonderful are the times we are living in. 1917 is a must see movie for everyone.

Sam Mendes' war drama is set during World War I and very personal to him, as it tells a story his grandfather used to tell him when he was still a young lad. Dedicated to Mendes' hero, this drama cuts deep when we join two young soldiers on a mission to deliver a message that could possibly save thousands of fellow combatants.

Filmed and edited as if it was one long take, the camera never leaves our main protagonists, Blake (Dean-Charles Chapman) and Schofield (George MacKay), out of its sight. Mendes (Skyfall) and co-writer Krysty Wilson-Cairns (Penny Dreadful) therefore corner themselves by relying on this kind of linear storytelling, to tell a very focused but at times a somewhat thin tale. Some of the scenes are so empty, it will for sure test audiences' patience. Technical, '1917' is a true feast for the eyes and ears.

Roger Deakins' (Blade Runner 2049) cinematography is once again breathtakingly superior to anything else you've seen this year, and for sure will be the one thing people unanimously praise. Sound editing/mixing, visual effects and production design are all outstanding. These are the things, people will remember. It is Thomas Newman's (Passengers) score that elevates every moment happening in front of you, intensifying the emotions brought by our main characters. And although MacKay (Captain Fantastic) and Chapman (Game of Thrones) do a pretty phenomenal job at capturing the true essence of their characters going through a literal hell, it's the side characters with little-to-no screen time who steal their spotlight. Andrew Scott (Fleabag), Mark Strong (Shazam!), Richard Madden (Rocketman) and Benedict Cumberbatch (Dr. Strange) are checkpoints along the way, but man, do they impress with the few lines they're given.

1917 is without a doubt a technical masterpiece, that will inspire many filmmakers, but I can't feel a bit let down. As an overall film, it wants to play a heavy tune on your heartstrings, but can't reach that level of sentiment, because the focus on technicalities pulled me out of the story. It for sure is one of the better films 2019 has brought to the big screen, yet a bit more focus on the script could've made this the cinematic masterpiece of the decade. Nonetheless, I recommend watching this on the biggest screen possible and enjoy another fine piece of cinema brought to you by Sam Mendes.

There are some great WW1 films out there, the granddaddy of them all in my view being 1930's 'All Quiet on the Western Front'. Also appreciate many of the actors here, though they are in cameo roles, and Sam Mendes as a director (of the films of his seen, almost all, 'Spectre' is the only one to not do much for me). Roger Deakins and Thomas Newman are masters in their field, Deakins is one of the best cinematographers in the business and Newman's score for 'Road to Perdition' is a favourite.

'1917' was seen for all those reasons. As well as because of the critical acclaim, with it being considered as one of 2019's year's best films. After seeing it, my thoughts are that the acclaim for '1917' is richly deserved in one of the best and most powerful films that year. It did connect a lot with me, due to watching it not long after reading the harrowing war diaries of my great-grandfather (who fought in the war and was mustard gassed and blinded).

First and foremost, '1917' is a visual and technical achievement. It is beautifully and evocatively designed and Deakins' cinematography, with awe-inspiring and never gimmicky use of the long unbroken one take technique, is nothing short of masterful. Mendes ensures that the tension, even in the slower moments, never slips, keeping the intensity (at its best almost nerve-shredding) going.

Newman provides another hauntingly beautiful score, that does stir the emotions in the latter parts of the film when things become more urgent. The sound is thrilling in its authenticity, so much so it was like being there. The film is intelligently scripted and to me the two lead characters, especially Scofield, were easy to get behind, interesting and their bond came over as realistic. The story is engrossing throughout, it briefly loses a little momentum just before the climax perhaps, but the first half is emotionally powerful and the climax is unpredictably intense.

Such a good job is done too with showing the full horrors of war from a visual standpoint, a psychological one and in the unflinching action. Without going too far, the point of view not being hammered home. '1917' benefits hugely from the splendid lead performance of George MacKay and Dean-Charles Chapman is strong too despite his role not being quite as meaty. The cameos from Benedict Cumberbatch, Colin Firth, Richard Madden and Andrew Scott manage to make big impressions in short screen time.

Overall, brilliant and powerful film. One of the best films personally watched in 2020. 10/10.