Flicks, Steve Newall
Christopher Nolan just can’t help himself. Even when stripping every ounce of fat off a lean, light-in-character-development retelling of WWII’s mass evacuation at Dunkirk (ok, one that was clearly also phenomenally expensive), Nolan weaves in an Inception-like multi-linear narrative that jumps around in time to focus on various characters. But like damn near every decision Nolan makes here, it proves unerring, allowing equal focus to be shared between three small groups: young infantrymen trying to survive one week on the Continental coastline; civilian sailors one day as they cross the English Channel to aid in the rescue of their countrymen; and Spitfire pilots a single hour in the air above their amassed, under siege forces.
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