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What Are You Watching? Infinite Season


I saw Dunkirk on Imax. To be honest I thought it was brilliant. The soundtrack was sensational, it had me on edge throughout, it is by far Nolan’s best film. I’ve never been quite his biggest fan, I have always felt there was something missing or off in all his previous films, but if he continues to make films like this I will be.

Like Mad Max:Fury Road, I’m not sure these feelings will translate exactly to a TV set. It’s very visual, very immersive and relentless, when the constantly ticking score lets up for a version of Elgar’s Nimrod at the end I felt a sense of relief and ability to relax.

I feel with reviews sometimes you feel duty bound to add a ‘but’ and point out some issues but in this case I don’t have any.

Edit: Found this on the use of Nimrod:

Nolan on Nimrod:

“Elgar’s monumental theme, a theme as beloved to the English as Dunkirk itself, often played at ceremonial occasions and funerals. It’s a theme which (I never admitted to Hans) I am incapable of hearing without feeling the surprising weight of my father’s coffin on my shoulder.”

I was chatting with @Kiel earlier and mentioned a ‘proud yet mournful tune’. It’s the perfect coda as it is not a jingoistic or celebratory piece of music. Dunkirk is celebrated for the bravery and ingenuity of those involved but it is a defeat/retreat and many thousands died.


Comrade Detective finally stopped glitching out on me, and finished.

My opinion stays relatively the same. It’s not very funny nor does it make use of its format, but it’s a solid cop show.
The Romanian dubbed over actors do a great job carrying the physical and expressive aspects, and the voice-actors are all really well cast and never come off as goofy or out of place.

It does try to get more wacky in the finale, but it’s still too late and it’s really just sparingly.
Nice little mystery and I wouldn’t mind a second season or something.


I saw Atomic Blonde, which I mostly really liked.

The plot is a bit too convoluted (especially towards the end), and it was a bit too trope-y in parts, but the action scenes are great. The big one, where she’s acting as bodyguard to Eddie Marsan, is one of the best set pieces I’ve ever seen, and worth the price of admission alone.

The movie was darker than I expected, with some good dramatic work from Theron. It’ll be interesting to see how Leitch does with Deadpool 2, which will presumably be much lighter than both this and John Wick.


I have to say I enjoyed The Mummy a lot more than I though i would after seeing the reviews. Sure it’s dumb and has some storytelling ticks that annoyed me. But I had fun watching it.

It is however the first Tom Cruise film where I feel he’s maybe too old to be doing this kind of movie now. He still has that Cruise charm, but it feels awkward when his friend (Jake Johnson) and his love interest (Annabelle Wallis) look so much younger than him.



We’re just about to sit down to watch Valerian. I don’t think this is going to break any box office records…


Oh no!
Have fun.


More on Dunkirk, which has been on my mind since seeing it as the in-laws and work colleagues have since watched it and wanted to chat:

The screenplay had been written according to musical principals. There’s an audio illusion, if you will, in music called a “Shepard tone” and with my composer David Julyan on “The Prestige” we explored that and based a lot of the score around that. And it’s an illusion where there’s a continuing ascension of tone. It’s a corkscrew effect. It’s always going up and up and up but it never goes outside of its range. And I wrote the script according to that principle. I interwove the three timelines in such a way that there’s a continual feeling of intensity. Increasing intensity. So I wanted to build the music on similar mathematical principals. Very early on I sent Hans a recording that I made of a watch that I own with a particularly insistent ticking and we started to build the track out of that sound and then working from that sound we built the music as we built the picture cut. So there’s a fusion of music and sound effects and picture that we’ve never been able to achieve before.


The intensity of the soundtrack on Dunkirk is immediate and palpable. It ticks and bangs and keeps you always unsettled. When it relents at the end (and sorry no spoilers, this is a historical story about hundreds of thousands escaping death or capture) I felt a wave of relief I have never had at a film before.

If Zimmer doesn’t win the Oscar for this it would be a travesty and I don’t care what comes out inbetween.


I have not seen Dunkirk but I have a hard time believing anything will beat War for Planet of the Apes for best score of the year (for me). That was some damn good sci-fi adventure music.

I am not a voting member of the Academy however, and don’t have to live with the shame of shafting Zimmer for Man of Steel, so I can see why he would win.


Dunkirk gets the edge for me because the score perfectly complimented the scenes.


The score is almost a character in the film for exactly the reason you state, Gar. It creates this crazy tempo and anxiety in the film that is only released at the end.


I’ve seen both. War is good, not on the same planet.

Dunkirk’s soundtrack is a fundamental change up. I think it’s way more influential than the visuals, I felt it was something I haven’t experienced in cinema before.

  • Saw a bit of Warcraft on TV, then turned it off because I got bored by it. Uh, the main fighting dude wasn’t a bad actor. Really awful fantasy story, apart from that. And Dom Cooper looked entirely ridiculous as King Arthur. But at least now I know where Jesse and Tulip met for the first time.


Out of curiosity, did the picture vibrate during certain scenes when you saw Dunkirk, Gar? I couldn’t tell if it was intentional or down to being in acoustically centered in an almost empty XD theater. If you’ve ever ridden in a car with such an extreme sound system that when the bass hits your vision goes a little blurry, that’s the effect I got.


That happened to me with Legendary’s Godzilla.


No, I saw you ask that earlier and I think it may be down to a loosely positioned screen. Usually the main speakers are placed behind and if you have strong bass tones it could blow it to shake and vibrate.


It got a bit busier before the film started. About six more people arrived! (Though, a screening on a tuesday morning/ lunchtime on a sunny day isn’t going to be particularly busy).

It (Valerian) was a decent amount of fun. It looked beautiful and all the action set pieces were great. Rhinana’s acting stunk (comedy lines in particular) and the dialogue was a bit much in the third act (I felt it could have been more efficient / been less of it). The design was fantastic though (loved the robot soldiers) and I liked the fact that lots of the tech was used without being heavily explained (example: you could tell the bodysnatching gun was just that through the action / acting and there was no need for tedious exposition).


Possibly something related to that. I’ve seen several films in this same screen without similar issues. So it might be an aligning of factors. It actually enhanced the effect of the soundtrack and sound effects.

This is the ad the theater chain does for the system in question. The screen is also almost IMAX sized. The bit at the end of this video is always so encompassing that you can feel it.


Glad you thought it was a decent amount of fun.
Agreed with what you put down, and I think the final action scene was surprisingly effective all things about Dehaan considered.