1917

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.

This film is overwhelming. I have nothing further to add, other than the compelling need for eternal remembrance to those who sacrificed their lives in any way, we can not fathom. We, citizens of any country, today, should feel ourselves lucky and blessed to exist. A Happy New Year to all. George from Hellas. NB: do not give it a second thought; watch it; even if this genre is not your cup of tea. After all, it is much more than a feature film. It's a massive dedication to unselfishness. Do yourself a favour and watch it. And then watch it once more.

Watching 1917, the audience might discern its apparent single-shot presentation, a testament to director Sam Mendes' remarkable craftsmanship. Is it filmed in one shot? A minimum of 34 discreet edits were subtly introduced to create the illusion of a continuous shot. This prompts speculation about the extent of the set, given the limited number of cuts, particularly within a wartime backdrop.

Transitioning to the narrative and cast evaluation, the film embarks on a riveting journey. The ensemble, including delivers a commendable performance. The artistic nuances employed to bolster the script, characters, pivotal moments, and conflicts resonate as an exquisite touch.

The film doesn't merely captivate with its story but also portrays a natural splendor, subtly showcasing its essence. I couldn't recall watching any movie with only 2 female characters including a baby girl.

My experience was satisfying although it doesn't rely heavily on suspense or thrills. It is a delightful watch!

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.

Last night COL Ferry and I (COL Coldwell, both USA) were able to watch the new WWI film, 1917, before it has national release. It is a cinematographic feast for the eyes, long expansive shots that follow the protagonists as they execute their mission. It does not hide the horrors that existed in trench warfare, it shows them for their brutality and abundance. (My great uncle died as a consequence of his service fighting in the trenches, mustard gas poisoning). In many ways it reminded me of Saving Private Ryan.

For those who have served in combat (I have deployments to Iraq and Afghanistan), I cannot tell you if the film will be too difficult to watch, it might well be, especially if incoming artillery is a trigger. For me, as the camera travels a few inches above the dirt advancing slowly up a berm, my response was visceral. I was taken back to the patrols we walked in Afghanistan, not knowing what was around the corner; not relaxing heightened vigilance, not knowing if there would be an IED, a child wearing a suicide vest, a sniper taking aim. For the protagonists in this film (as for all who served and are serving) surviving the climb up the berm, there is no sigh of relief, no respite from the fear of uncertainty. They (we) survive to move forward to face more uncertainty.

Watching allowed me to pay homage to my great uncle, and the approximate 800,000 other Brits who were killed or died as a consequence of their service. (Germany lost over 2 million soldiers in the war). Estimates put the total casualty numbers for both military and civilians at 40 million, half killed or died from wounds/infection.

I rate this film as 10/10, for many reasons. Directing, acting, set design, cinematography, musical score, the raw emotion it invokes. Some critics have said they never felt a connection with the characters, I suspect they never served in combat. While the brotherhood (including female War Fighters) is strong, there is also a common characteristic possessed by all War Fighters, the ability to focus on a mission and suppress emotion, even as those around the Fighter fall. This was the quality I recognized in the actors and why the viewer doesn't "bond" with the main protagonists; we, the viewer, were on the mission with them, we grieve as we can and move on.

Watch if you will, but know there is no pleasure in watching and the film will grab you and the beginning and not let you go. Even though we know the outcome of WWI, there is no joy, there is no peace. Watch because it will allow you a glimpse at the horror and brutality of war; reflect on their service and sacrifice. Note, as we (the viewer) are "walking" through the trenches, glancing shots of the young soldiers shows them with flat affect, isolation, almost apathy; this is the face of "shell shock," what we know call post-traumatic stress disorder.

For original WW1 footage, watch "They Shall Never Grow Old," an exceptional documentary.