In 1942, a Canadian intelligence officer in North Africa encounters a female French Resistance fighter on a deadly mission behind enemy lines. When they reunite in London, their relationship is tested by the pressures of war.
Death, who takes the form of a young man (Brad Pitt), asks a media mogul (Sir Anthony Hopkins) to act as a guide to teach him about life on Earth, and in the process, he falls in love with his guide's daughter (Claire Forlani).
Retreating from life after a tragedy, a man questions the universe by writing to Love, Time and Death. Receiving unexpected answers, he begins to see how these things interlock and how even loss can reveal moments of meaning and beauty.
At the height of World War II, in turbulent 1942, the fearless Wing Commander, Max Vatan, lands on the desert dunes of Morocco to meet with the Parisian member of the French Resistance, Marianne Beauséjour. After a botched attempt to eliminate an elusive target during a suicide mission in the heart of Casablanca, Max and Marianne flee to England intent on starting a family soon; however, heavy clouds of distrust and suspicion will burden their already difficult relationship, when Max receives a shocking call from the Secret Service Division. In disbelief--with a terrible task in his hands, and crushed under a devastating dilemma--Max must summon up the courage to seek for answers in the perilous streets of a bombarded London, regardless of the outcome. Now, amid duty and love, who shall live and who shall die?Written by
Max starts his late 1930s or early 1940s car with an ignition key starter. A key and either a dash button or floor pedal would have been needed before 1949. See more »
What are you doing?
Testing you. The way you tested me. I know you're armed with a weapon, Mr. Vatan, I'm just checking your safety catches and range.
There, we had our first fight. Now we're okay then, yes?
Marianne, we both know people fucked each other, and they fucked up, but now they're fucking dead.
Well, that's a lot of fucks.
Button yourself back up.
[buttoning her blouse]
Actually, Max, mistakes make people in these situations isn't fucking. It's a feeling.
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The first few closing credits are a massive font size. See more »
This movie seems like a long montage, you never feel engaged with the characters or the story as it races through plot points then plods through others. The effects seem dated, in that it's noticeably fake, which often draws you out of the story. Cotillard is strong, Pitt less so. The story itself has been done and and done better. The writing is a little lazy and predictable. One strange inclusion is that it makes a point of introducing Pitt's character's sister. She seems to serve no point and it feels like something is missing. As a (Southern Hemisphere) summer "blockbuster" it will probably fare well but when compared to some of 2016's more tense and visually appealing movies, like Norturnal Animals, it falls flat.
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