Once Upon a Time In Hollywood
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Simple stories can offer the most sincere acting. On paper, Win It All appears a generic gambling-gone-wrong film. And while the story doesn't deviate too much from this perceived notion, the cast and characters elevate the film exponentially. Particularly, the relationship between brothers Eddie (Johnson) and Ron (Truglio) is incredibly moving and realistic. Lastly, though the film sports comedic actors like Keegan-Michael Key and Joe Lo Truglio, Win It All rarely feels like a comedy. I never found myself laughing, or on the verge of doing so. There are serious implications to the characters' actions; few of those implications positive. But generally, Win It All does manage to put you in a feel-good mood - it'll just take uneasy moments to get there.
Go see Dunkirk. It's a great theatre experience.
Yet the fact remains, it's not a great Nolan theatre experience. While stunning visuals and sounds absorb the viewer, we miss out on the unbelievable narrative structures interwoven by Nolan in his past films - narratives that shine through incredible dialogue and character relationships. Dunkirk has little to none of this. The movie is a depiction of an event, and nothing more.
Dunkirk seems concerned with one major facet: authenticity. Through on-location filming and the use of replicated ships and aircrafts, the film transports the viewer. Unfortunately, in this plight for authenticity, no fictional drama was ever fostered. And it's this drama and emotion - concocted through dialogue and story arcs - that remain neglected in Dunkirk.
Aside from Hans Zimmer's recognizable flare in certain scenes, Dunkirk shares very little with other Nolan movies. Because it's these past movies that have garnered him such praise and (more importantly) fandom, it's a bit disappointing he chose such a drastically different path.