Blu-Ray // The Lost City of Z

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UNCHARTED AMAZONIA HOLDS A LOST KINGDOM AND THE FATE OF A BRITISH SOLIDER IN THIS WARTIME ADVENTURE.

On an expedition mapping the border between Brazil and Bolivia, soldier Percy Fawcett (Charlie Hunnam) finds traces of a great civilisation deep in the jungle, but is ridiculed upon return for his lack of evidence. To prove his critics wrong he returns with the Royal Geographical Society to find the lost city of wonder, dubbed “Z”.

As a film that embraces the romance of the unexplored, The Lost City of Z is an impressive piece of modern filmmaking, as it feels and looks like a classic explorer film from a long past era. It nicely strikes the balance between the romantic nature of European “New World” pioneering, while still showing how difficult and unforgiving the jungle can be.

Hunnam plays stoic Fawcett, head of a large family with varying opinions on his ambitions. Tom Holland’s portrayal of his eldest son shows an actor with a great future and Robert Pattinson’s turn as haggard fellow explorer Henry Costin is impressively unrecognisable. Their odyssey, pitted against the outbreak of the Great War, shows the struggle Fawcett faced between leaving his family in England and his battle to right his disgraced family name. It’s a story that could easily be mistaken for fiction, but it’s as true as it is remarkable.

Christopher Spelman’s score is excellent, allowing the beautiful visuals to take over and the sweeping strings in the sombre scenes are genuinely moving. The hazy camerawork compliments the dense jungle, captured in it’s claustrophobic glory. The lucid night sequences were very reminiscent of Apocalypse Now which was clearly a big influence, but thankfully the film has its own distinct character. Director James Gray’s work with “The Beach” cinematographer Darius Khondji is a winning combination, and while the film doesn’t feel like a huge Hollywood blockbusting adventure, neither it should. Sitting far more comfortably as a smaller budget film with an artistic heart.

With some sporadic pacing and a slightly one dimensional performance from Hunnam, The Lost City of Z is not without its flaws. But it’s still a wonderful film, the likes of which has not been seen for a while. The sense of adventure is very genuine and Gray successfully pulls off a very difficult task. How do you make a film about exploring that’s exciting, in an era where no stone has been left unturned?

Review // Dunkirk

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The heart of British stoicism pulses like the tide in this outstanding epic, chronicling the greatest military disaster in our history.

Told from 3 different viewpoints, Dunkirk is the story of the 400,000 men left surrounded by German forces in Northern France, featuring Fionn Whitehead as a young Private stranded on the beach, Tom Hardy as an RAF pilot and Mark Rylance as a civilian captaining a drafted boat. Among these stars feature an incredibly talented supporting cast including Cillian Murphy, Harry Styles in his feature debut and Kenneth Branagh as commander of the beached forces.

The week-long ordeal is neatly split up across the three stories, each with their own climaxes and conclusion. Whitehead as the young “Tommy” is joined by Styles and Aneurin Bernard, forming a group of soldiers desperately trying to flee the beach. Tom Hardy gives a great performance almost entirely from the cockpit of a spitfire in airborne sequences that are absolutely enthralling. The civilian boat ordeal contains a sombre story, highlighting the sacrifices that everyday people made in order to rescue the stranded soldiers. In a jam packed 1hr 50mins, the film is never far from the action, avoiding politics altogether and all the better for it.

Nolan has been careful not to glorify any of the evacuation and every aspect of Dunkirk contains an element of struggle. From the constant screeching of the German bombers to the landscapes that never quite shake their misty coats, bleakness permeates every level. Hoyte Van Hoytema, cinematographer of Interstellar returned to shoot Dunkirk and the two are strikingly similar visually, having traded the heavens for the seas. Yet where Interstellar was technically contrived, Dunkirk is far simpler, allowing full cinematic freedom to be explored.

Screened in various formats including the holy grail of 70mm, Dunkirk is pure cinema at it’s finest. The production cost alone of shooting on such expensive film could only ever be justified by a director such as Nolan, and justified is the word. Having produced a film as fine as this, it would be unjust for anything other than a slew of oscar nominations to be thrown his way with a view to a clean sweep come awards season.

Dunkirk is a much a treat for the ears as it is for the eyes. A truly dread-inducing score from Hans Zimmer, complimented by terrifying sound effects bring the audience as close to war as is comfortable. It contains very little dialogue, focusing on the physical journey, allowing their exhausting movements and relentless obstacles to tell the story without unnecessary distraction. But when required, the speeches are moving and words are certainly not wasted.

In a career that has spanned more than two decades, Christopher Nolan joins the increasingly small list of directors who deal exclusively in cinematic works of art. Almost certainly his best film, Dunkirk must rank among the greatest British films and solidify his place as one of the best living filmmakers.

77 years on, there can hardly be a more terrifyingly realistic interpretation of this great disaster. Do yourself a favour and see this spectacle on this biggest possible screen and enjoy what will undoubtedly be remembered as a landmark film.