DUNKIRK is one dead wife away from being the Nolaniest movie that Nolan ever Nolaned. It’s very much what his filmography has been leading up to, in both theme and form, and he’s pretty much perfected it. It is the pinnacle of all he has done – good and bad – and it is technically stunning. As craft, it’s unimpeachable. And yet I spent a lot of the movie not really caring about what I was watching. I was involved – the editing and sound design and camerawork bring you into the moment, and there was tension and there was excitement and there was dread – but I didn’t CARE. If one soldier died it would be a shock, but I wouldn’t feel anything for the man. Over the course of DUNKIRK’s short but intense running time there was only one character with whom I found myself emotionally engaged, and that was Mark Rylance’s character of Boating Mark Rylance.

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