Natalie Molineaux

As a semi-retired historian, I was so impressed at the authenticity of the film. And the performances were consistently exceptional, especially Tom Hanks. I so appreciate films that aspire to present certain aspects of the Second World War, and so provide us with a more granular portrait of the men and women who contributed to the War effort by their participation, service and sacrifice in what historians refer to as “The Battle of the Atlantic,” albeit in its latter stages. Tom Hanks proves once more his skills as a writer, as well as actor, director, producer, et al. All I can say is thank you once again for breathing life into the telling of history, ours and the world’s.

Many of the World War II movies produced over the last twenty-five years, have striven hard to produce and present increasingly realistic, visually-stunning, brilliantly-acted granular, POV stories against the backdrop of the egregious horrors and unfettered violence of modern war. The same people who bequeathed us two masterfully-done, multi-episode series, “Band of Brothers” and “The Pacific,” have now blessed us with a third and final series, featuring the 100th Bomb Group of the 8th Air Force. This series gives an authentic portrait of the unimaginable horrors and violence wrought by and upon the brave B-17 airmen during their tour of duty, from 1943-45 in East Anglia, UK. The title for the series is that of the book by historical novelist, Donald L. Miller. Each episode seems to highlight or accentuate how the main characters experienced the War, relative to each other and to various other folks they encounter, English, Scotch, German. I loved this series, from the theme music to the stunning visuals, to the fabulous sound editing (a Spielberg tradition), to the great performances! All in all, one is reminded that life is so fragile especially in warfare. We must be vigilant and stand, as we have done in the past, against tyranny, against all forms of evil and oppression, against imperialism, totalitarianism. We dodged a bullet between World War I and World War II. Especially after the Crash of 1929 and the onset of Great Depression, we witnessed the rise of totalitarian regimes in Russia, communism, in Italy, fascism, then in Germany, National Socialism. In the U.S., we saw populist movements from the left and from the right. But FDR kept us on course. He was ever the capitalist, ever the reformist, maybe even the visionary. Indeed, FDR’s “Second Bill of Rights” ought to be a perennial and integral part of the platform of the National Democratic Party, as consistent with our progress towards equality and human rights.

Even now, I am drawn to this film. I love the casting. The stellar performances, especially of Bale and Leonard, against some authentic settings. It is truly a period piece dedicated to a lost generation of Swingjugend during the 1930s. One can only imagine how very difficult it really was for the young people of Germany as the dark shadows of National Socialism crept over the land. I was also wowed by the choreography, especially the brilliant dancing of Bale, Leonard and especially their dance-partners! It is rather sad to contemplate our own fate here in the U.S. Will democracy survive the onslaught of this Administration over the last six months? Will our youth be forced into making ever more serious moral choices? We shall see.

I think this is a very thoughtful, evocative premise, featuring an extraordinary cast, especially performances by a few contemporaneous notables (1951) of British and American cinema. One has to wonder whether we are significantly more safe in the air these days. The tragic consequences from faulty parts, as with Boeing’s problems with broken bolts securing the doors on passenger jets. I had an issue with editing. The story really drags during the extensive wait period. Also, faulty editing here and there, like the fake jet taking off. Also, Stewart is quite convincing as an absent-minded, yet brilliant scientist who must struggle with a horrible ethical decision. Accordingly, if you know what you know, how far are you willing to go to test it, especially if it life and death. His indifference to human life changes as Professor Honey is befriended, by Ms Johns, then Ms Dietrich. He discovers that he genuinely cares, and wants to save them, everyone, even at grave risk to himself and the welfare of his young daughter. Overall, I am grateful each time I have opportunity to see the movie again!

Absolutely Will Forte’s best comedic performance! The script is a bit weak, but the performances are worthwhile. The film helps to accentuate Forte’s distinctively dry, dead-pan humour.

Watching this “sequel” made me nostalgic for Bill Paxton and Helen Hunt. I was unimpressed with the mediocre performances and storylines. Looks as though they tried to compensated with an overreliance on the music & CGIs. Worth seeing, but not at the cinema.

Outstanding cast selections, and outstanding performances especially by the leads! I am grateful that the filmmakers didn’t feel the need to add any more violence than necessary. Deeply moving, with a hopeful ending!

I can say that I really loved this film! Despite a few weaknesses in the script, Damon and Breslin both provide outstanding performances. And I was truly enamoured by the character played by French actor, Camille Cottin! She was absolutely magnifique! As a native Oklahoman, I can appreciate the cultural complexities and vicissitudes of moving from Oklahoma to Europe. Damon’s character, Bill, travels to Marseilles, France, in order to advocate for his daughter Allison (Breslin), who has been convicted of murder. Because of the complexities and unanswered questions in the case against Allison, Bill deems it necessary to live and work in Marseilles. One cannot help being impressed by the love and devotion which drives him to great lengths in order to exonerate his daughter! In retrospect, I had to wonder whether the choice of another actor, with roots in the American southwest, might have enhanced the film’s authenticity. Also, I found that the manner in which the storyline’s characters and culpabilities converge led to a rather unsatisfying conclusion. Underlying issues are left unresolved. The relationship between Dad and daughter seems largely unchanged, Damon’s character has undergone some internal change, yet Stillwater is still just Stillwater. Overall, I believe the film was well-done, meriting a solid four stars!

The series struck me as a slick manifestation of Putin’s propaganda, to further a rather ahistorical paradigm of “Greater Russia”! The series presupposes that the Byzantine dynastic line survived via the niece of the last Byzantine emperor, Michael Palaiologos VIII, by virtue of her marriage to the pre-Romanov Russian Prince. This in turn would help solidify claims by the Russian Orthodox Archpatriarch and the Russian Romanov dynasty to Moscow’s legitimacy as the “Third Rome.” Knowing this series was part & parcel of Putin’s improvised history of Russia kept me from appreciating the stunning cinematography and quality performances with a real objectivity.