Darkest Hour

A more intimate portrayal of the life of this well-known historical figure, focusing primarily on Churchill's most challenging political period, when every wrong decision could lead to disaster. It’s almost like a theatrical performance, with everything running as smoothly as a Swiss watch, and there are perfect dialogue situations where Oldman truly shines. He must have gone through intense preparation; it was certainly no easy task, but it’s evident he gave everything to his role. His precise movements, facial expressions, and clever verbal nuances made Churchill reign supreme, and Oldman managed to mimic him flawlessly. At times, one almost believed that Churchill himself was present. I completely understand why the Academy Award went to Oldman; it’s one of the top performances in recent times. The casting of supporting roles was also well-considered, with Stephen Dillane being unparalleled and Ben Mendelsohn as the British king also convincing. Don’t expect action scenes here; it’s simply a biographical journey through the life of this remarkable man, who managed to win over citizens with his actions and conduct. The film also offers emotionally charged scenes accompanied by a subtler yet very fitting soundtrack. I give it 84%. (02/06/2018)

It is an exemplary Oscar drama. If only the film screened in any different time, but it has to appear at the beginning of January, the typical date for the release of Oscar movies. It doesn’t get more obvious than this. And of course, Gary Oldman is awesome in it. It is even more fascinating if you have seen him in films like Lost in Space, which is over twenty years old, and then you see him play the role of Winston Churchill. Of course, it looked like Churchill was played by Churchill himself. That traditionally stands out over everything else in the movie, which always happens with films like this. (01/02/2018)

An engineering film, perhaps for the target audience of naive naturalised university students who feel that a degree is the holy grail and the key to good results. In a figurative sense, this is the same Joe Wright, director of the 11-year-old and brilliantly polished Atonement. He tries to make every scene formally, aesthetically and dialogically perfect so that the charge, juice and density of the story actually slips through his fingers like a knife through butter with nonchalant elegance. But the ending is way off the mark. If it is supposed to be Oscar bait, it was not very successful. If the film worked as a mere vehicle to highlight Gary Oldman's makeup and acting, then OK. (01/03/2018)

If Joe Wright could tell a story as effectively as he directs, Darkest Hour would be a much less painful viewing experience. Unfortunately, the ambitious British filmmaker again proves to be a great purveyor of kitsch, for whom the main thing is that every scene looks good and is not boring at all costs, not that it has meaningful content and is somehow helpful to the narrative. Visual gimmicks such as shots from a bird’s-eye perspective, slow-motion shots and close-ups of the second hand on a clock mainly give the impression of being manifestations of an almost panicky fear of being ordinary, which I would rather expect from a debut filmmaker trying to demonstrate what he learned at film school. The rather ordinary scenes, relying solely on well-chosen composition and Oldman’s acting (very solid, but you still can’t escape thinking that you are watching a thin actor under a fat mask) are much more impressive, because the ideas in them are not concealed by effects. Besides the occasional victory of form over content, the film is hindered by its unbalanced rhythm (after the brisk first hour, the pace slows significantly before Operation Dynamo), breaking history down to key decisions of great and infallible men, the desperate lack of sound judgment (even if the scene in the underground is based on reality, that does not change the fact that it is terribly unconvincingly constructed and written – I don’t remember seeing anything so dumb even in British interwar propaganda films, where it would be more at home) and insulting leading of the viewer. Through the supporting characters (especially the frightened secretary), the film constantly tells us how we should see Churchill, what to think about him, so that we don’t start to doubt his genius. There is a whiff of believability in the scenes of Churchill with his wife, which the screenplay does not prescribe, only for her to marvel at his penetrating intellect and laugh at his bon mots. Unfortunately, the better work of the actors and makeup artists (and costume and set designers) cannot save what the screenwriter (Anthony McCarten also wrote The Theory of Everything, which suffers from similar shortcomings) and the director neglected. Darkest Hour is an empty, naïve and fake lesson in patriotism, which for two hours laboriously tries to convey the same message that Christopher Nolan was able to put across with much greater impact in the last ten minutes of Dunkirk. 45% (11/01/2018)

A great comedy about obesity and a wonderful drama about the fact that sometimes it is necessary to change perspective so that even the most stubborn person can believe his own convictions. For the first time, Wright's calligraphy doesn't seem to be an extra aspect to me. The brutally cut scene with a phone call when someone is on the toilet is one of its highlights. The amazing Mendelsohn and Oldman. The screenplay is very thesis-based, but somehow it has punch even in weaker moments. Wright mobilizes film language and tells perhaps a simple, but impressive message of an unwavering spirit. (14/03/2020)