It also has Hans Zimmer’s best musical score: an eerie, keening, groaning accompaniment to a nightmare, switching finally to quasi-Elgar variations for the deliverance itself. This is a powerful, superbly crafted film with a story to tell, avoiding war porn in favour of something desolate and apocalyptic, a beachscape of shame, littered with soldiers zombified by defeat, a grimly male world with hardly any women on screen. It is very different to his previous feature, the bafflingly overhyped sci-fi convolution Interstellar. Nolan’s Dunkirk has that kind of blazing big-screen certainty that I last saw in James Cameron’s Titanic or Paul Greengrass’s United 93.
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