Change Your Image
Upload An Image
Crop And Save
The Forbidden Room (2015)
A true vision - or series of them
I've seen at least four, maybe more, Maddin films, and this was my favorite thusfar. That said if you read the main tag here, or the griping reviews, yeah it's a non-linear film.
The other thing for me is the flickering processing of his films, can be hypnagogic for me. This one in particular reminded me of the fact that a Berkeley professor has been working on visually capturing peoples dreams (but as I recall his methods are extremely crude). Maddin here with help from former student Evan Johnson, has a more refined dream-like feel, things seemed more rough-hewn in his earlier films, and while this still has warps, twists and bleeds visually, it just looked cleaner overall.
But the pulsing images/colors, they are tough on the small screen, and honestly I did watch this over two nights.
People who feel David Lynch's "Twin Peaks" reunion tours were a disappointment, might like this film (and others from Maddin). Or Udo Kier fans. Or people who like a vague thread of thrillers (trapped underseas in a submarine, or stalked by an Aswang - Filipino vampire). But again anything resembling a story is at best a flavor, although there are vignettes packaged in the nearly two hour long work.
But stuff does resurface, even if the submarine may not. Baths, as led off fantastically by "Marv" (Maddin favorite, Louis Negin). Actors are used/reused, silent movie subtitles share time with "talkies." Monsters and Valcano (sic) sacrifice....
While I understand some folks are put off, perhaps do a little research and maybe watch the trailer, I for one applaud Maddin's dedication to his vision.
San ren xing (2016)
The Sleek Bleak Clique
People say going to the hospital is a risk in itself, perhaps in not quite the high style and carnage as on display here.
The film lightly pits the Hippocratic oath vs hypocritical cops, toss in a charismatic villain and a few cc's of humor to help temporarily release the tension, but you know what's coming in even if you are not an action film aficionado.
I am not one but this film killed time in a tick-tock fashion. Korea may outdo the US on violence and weird worship of homicidal psychopaths, that's okay by me.
Fearless and clueless, but not hopeless
Definitely felt like more of a parent than a participant in watching this film, as a lame disclaimer. Yeah, you'll get old too though partner. ;>
Anyways this film captures that youthful vibe of being fearless and clueless, but that's focusing on the American characters. In a way, Champa is the star of the film (with a slight nod as well to one of the minor characters at the end, a whale researcher).
The film has a sort of home movie warmth to it, partly in how it was shot, but also in having the director utilize his brothers. There's a tacit brotherhood that helps to reinforce the more kindly nature of strangers that keeps the film afloat. In listening to interviews, it was interesting to hear that the director in real life was the Jamie character, so I wonder if creating this film with Champa helps him atone for his overly caustic and solipsistic reaction to the original Crystal Fairy? Cera is so good as a callous Casteneda devotee (from folks old enough to remember those once-popular Don Juan wandering books).
I don't know it's a small film that worked fine for me, sure there is a sense of exasperation with the two American characters that might have driven off others. I like that the film does not wrap up with a simple epiphany, thus avoiding hopelessness.
Sticks To His Guns
And guns are a lot different than Sticks and Stones. I think that title is quite apt and maybe how Dave feels in general to the umbrage the world takes at whoever said whatever.
He sticks by a lot of other things too, including Kevin Hart, Louis C.K. and Michael Jackson. And Morgan Freeman, the trailer had me hoping for a sort of Chappelle a la Godot stand-up in the sand. Dave aso sticks by his "patented" move of the walk-away, wherein he kind of drops a line and stalks off in faux fear or shame or I don't, but it's a nice trick where he embraces his joke/idea while seeming to flee it. after letting Netflix roll over to the epilogue, it then rolled over to a really early special of his, and he had that same move, and same sheepish over-the-shoulder grin saying "that line was no mistake."
By the way, just an idea but if comedy, like a music program, has you smiling the whole time, maybe it's a bit too safe?
Anyways I for one am glad he hasn't just said efff it all and walked (swam?) entirely away to an island with his family, duck-grease and all. Loved that shot of the Chappelle's among the great photo montage at the end.
Recommend watching the bonus features
The movie was watchable in its own right, a very slight sideways take on work wives. The HDV and lo-fi acting provide a complimentary clash.
I suppose the bubble deformity on the product line, is meant to connect to the bubble deformity on the product line worker. The notion of a neurological damage creating a sort of Jeckyl/Hyde was tacked on, but really the slow-study of characters was what the focus of the film for me.
What I liked about the DVD extras was 1) Soderbergh describing the steps he took to maximize the first takes for non-actors (the casting was pretty fantastic, kudos to the non-actors and the casting director and perhaps the writer too, she mentioned meeting the cast and incorporating some of their stories). 2) Even better than that, I found myself mulling over the depiction of the drab, soul-sucking job and those portraying it but talking about their own lives pizza parlor, soon-to-retire KFC manager, and hair stylist! They were a lot more vivacious than their mere roles, which I think does say something about small towns, small jobs, but bigger lives than Hollywood may want to portray. Granted the stylist did have some small-town claustrophobia, but she had the juggling of four kids and a job that are tough to pull off anywhere.
Anyways, maybe I'm overreaching, and if not all jobs, then 90% have their soul-sucking powers no doubt, but at least for me, when the non-actors were just being, they seemed pretty admirable....and I liked that this film and formed a friendship of sorts for all three. I hope that sticks through to today, 14 years later....and through whatever jobs they may have had.
Again the film is fine, and the format of the footage to me worked quite well, even though surely seen as a step down at the time. Some of the factory footage was weirdly wonderful.
Dare mo shiranai (2004)
Saw this after recently watching "Shoplifting" from the same director. Both dealing with lost children and poverty in Japan.
While "Shoplifting" focused on a constructed family, here we have a deserted one. The mother (an actress known as "You" fwiw) is absent and abandoning, seemingly a child herself in giddy ignorance. Her role is to provide gifts and little else.
I don't think it was the director's intention, but the notion of fairytales and children cut free from their parents came to my mind at times. More likely, the director wanted to underscore that with a little nourishment, all children can grow like the plants on the veranda, and yet their lives are precarious. But this kind of misery is easy to look past, through or over. Hence the title "Nobody Knows" ....and yet some do.
Scenes involving the corner store clerks stood out for me. Two instances where people perhaps closer to the margins of society were more keenly aware of those well excluded from those margins. A little beneficence was welcomed.
The film itself lacks some adult supervision, growing a bit more like a weed in different directions at times, and mostly rides upon the excellent work of the then young actor Yuya Yagira. This was his debut, and checking up on him now he has been acting ever since.
Much is asked of him on camera, and off. As an actor, I believe he received tremendous support, much less than the character he portrayed.
To sing the impossible song...
The movie feels both like an adaptation of a short story, and yet also a metaphor for a lengthy and heavy thesis. It is a slow-paced film, with a character striving to guide the film towards its conclusion. It is a unique film.
Definite spoilers follow, so stop reading and perhaps simply see the film for yourself. I will say I found the film thought-provoking upon reflection afterwards. More so than while watching it.
So the notion of Jewish survivors returning to Germany is a charged one, perhaps some may feel similarly to spouses returning to their abusive partners. Both come into play in this film, Nelly's dream feels impossible.
Johnny has his plans, as does the director. They conflict, and the director wins while tipping his hat in multiple ways. The lack of any happy flashback memories, the current employment of Johnny, and the character of Lena as an embodiment of conscience, we know where we are going, and not just to the train station.
Speaking of Lena, is she the inverted half of Nelly? (Typing their names now, phonetically they even *sound* reversed). Is Lenny the touchstone for us the audience?
Or are we the audience cast as the embracing friends who greet Nelly upon her impossible return? The most difficult part of the film was hearing Johnny predict their responses, despite Nelly's protestations.
Anyways a story of "you can't go home again" is not unfamiliar, but not in this sense. Home is more than the house you were evicted from, it's your country, your "friends." It's your sense of security and your very sense of self.
While the nightclub gives the film its name, Nelly's character was truly left for dead before her rise from ashes and bullets. This is a rare return. The singer gets a just as rare encore, the song is slow, sad and poignant.
Singing an impossible song, after surviving an unthinkable nightmare.
The Mule (2018)
Eclipsed by Clint
Certainly an interesting idea, expanded greatly from the actual true crime that engendered the film. Striving to make it a deep tale of family redemption than mere greed was surely crucial.
I wonder if he ever considered another actor for the lead role? Does Eastwood bring too much dignity and not enough desperation to the role?
Not sure if that was it, but for some reason the film was an effort for me to get through.
24 Hour Comic (2017)
Hey, You, Get off of My McCloud...
My boys are very much looking forward to a "Graphic Novel/Comic" class for their upcoming junior year in high school. So I was searching for Scott McCloud related books, when I stumbled across this DVD.
One boy watched it with my wife and I, and we really enjoyed getting to know the people involved, albeit through the selective eye of the camera. The lens work less an issue for us on the small screen for what it's worth.
As time rolls by, a bit of a weariness settles in, not just for the contestants but for us. I found Jacob to be the heart of the film, to me his relationship with David Celsi reminded me of Neil Young always wanting to seek out Crazy Horse. As success rises for one artist, he needs more than a muse, but a kind of unfiltered raw nerve to spark the effort and repel any darkness tat might set in.
As with musicians, and perhaps even more so for cartoonists, trying to find enough business sense to keep the medical and housing bills at bay seems like a daunting challenge. Paul Guinan and the other CalTech guy (sorry forget his name right now, but somehow calling him CalTech guy underscores this notion) need to have a really rational approach to the business of their art.
But that phrase alone "business of art" is oxymoronic at best. And if as a young person you go into any kind of "dream" creative job, these sort of thoughts should be emptied from your pockets (at least till you're 30?!?)
Anyways it was interesting that my other son, who watched the DVD by himself (and not on a Friday night with a nice supportive family vibe) was not at all engaged by this film. Kind of like the event itself, it is surely more fun to watch this film with a few friends.
To me the genius of the 24 hour comic contest, is that it can be a decent business decision (if those involved, and/or hosting it can quick-bake a product out of it), plus for 24 hours, just not thinking about the business end, but just completing a comic (and holding back your inner critic, much less publishers and others) might be a bit of Crazy Horse for all at involved.
Maybe watch this, but for sure check out some of the McCloud series of comics on comics, and his "The Sculptor" was surely not created in 24 hours, but was a nice piece of the teacher showing he's quite a doer as well. His appearance in the film by the way is pretty minimal. Though he helped launch these contests.
I do recommend watching it with some friends, especially your crowd's version of Jacob Mercy.
L'ombre des femmes (2015)
Strands of relationships...
Um spoilers coming, but the short take : honestly I'd skip this film.
If this were a silent film, maybe the affair the wife partakes in would be seen as the one with trace elements of joy. Of course in the film even with the sound on, theirs is nearly silent, as her lover rarely speaks. And perhaps that is the key to a successful union.
Strange film, strange in that it looks like a film from 40 years ago (I assume intentional; and no, not just the black and white footage). Strange as it's a French film with a scolding take on infidelity, which I thought from other such films was seen like baguettes, omnipresent and at least tasty for a little bit?
Don't get me wrong, I would welcome a message reinforcing matrimony, but aside from the wife's dedication to the husband's art, the relationship at the heart of this film has very little actual heart to it. Perhaps that scene with the landlord intends to indict poverty as a threat to their bliss, but there is zero rallying together against that.
I walk away at the end as if I'd spent an evening with two friends whom I cannot help but sense should not be together. Maybe it is just me, but then does the subplot of the deluded resistance hero set us up to question the happy reunion at the end.
Maybe too much verite ruins the recipe of love, I'd really rather not feel that. As complex as relationships are, as thread-bare as they can get, I feel like a strand of hope somehow is woven between partners.
The quest for Poetic Justice
Trying to strictly avoid spoilers, definitely recommend seeing this, perhaps knowing less about it going in is a plus.
The film is artful and smart while covering some serious wounds. Nine years in the making and the genuine friendship of the two main dates back before that and shines through even in the darkest moments here.
Words often fail, and they'll never stop a speeding bullet, but they still mean something. This is not cinema verite, you can find that on the nightly news sadly.
At times it was odd to enjoy such a creative encapsulation of multiple destructive forces. Amazing effort by cast and crew...in scanning the reviews, if you want something real this *may* disappoint you, but "Blindspotting" like the times themselves is surreal.
Hunt for the Wilderpeople (2016)
Leaves More Than a Trace of Joy/Hope/Redemption/etc...
In a weird way, this feels to me how a Disney film _should_ feel. When the treacle wells up, you cut it (gut it?) with a slice of tragedy, and then moments later, or perhaps within the same scene, you mingle in some humor.
Film caught me a bit by surprise, even though I strictly rented it as part of a Taika trifecta. I only wish I had my whole family watch it with me, but they had spent their silver screen bullets on Naked Gun earlier.
Some moments might be intense for kids (or adults). I sort of wanted "skux life" to be something entirely made up but in a way, that being alreedy part of NZ argot is even better.
A perspective that emphasizes the kindness of weirdos and the harmless stupidity of any "villains" is welcome in my world.
Vox Lux (2018)
There's Art in the Inarticulate
Felt to me, like a film proud of its inarticulateness.
Or maybe a fear of the committing to or condemning of pop art?
Interesting to have Scott Walker (recently RIP) on board for the score as he dismissed pop music for discovery, but Brady Corbet seems to tilt towards pop as a suitable antidote for modern miseries. Personally, I prefer it as a placebo, but one the patient has to believe in.
I do see that Walker and Corbet have worked together before, so I'll have to check that out.
Portman hits her dance and collapse steps nicely, but her role as mother/sister came across as artificial as the stage goddess that the fans go gaga over. Could be that was intended but the film ends up like her mascara, a halfway compelling mess.
The subplots of gun violence and celebrity killers, as well as sloganeering dumbed down leaders of political and pop culture might float to the top eventually. It's not quite the They Live of this generation I feel.
Juliet, Naked (2018)
When the weakest part of the triangle is the strongest?
As love triangle films go, nevermind epistolary romances in a cellphone/video chat world, this is fine fare.
However me, Chris O'Dowd was crucial to elevating this film. He plays the fan-boy both bombastically and yet kind of believably. His goofiness helps to soften the blow of Hawke's serial dead-beat Dad action. For good measure, add to each triangle the captivating Rose Byrne; she has knack for playing a girl-next-door kind of character while downplaying her natural glamour (not quite the right word, but for me at least she's a radiant beauty).
Two quick things of possible note, I believe Ms Byrne (or Mrs Cannavale?) had become a mother some time near the creation/completion of this film. I get that being a "breeder" is not for everyone, but I also think for many that do, having a kid is a complicated choice hinging upon myriad matters.
Well on the flip side it could be just a mistake of a moment, but less likely for those of us who get past a certain age. This may add poignancy (or irritation) to some watching the film.
And on a lighter note, I do think it helped that director Peretz apparently got his start working on music videos...although this film owes far more to "Sleepless in Seattle" than to Seattle legend (well not Cobain, but his Foo Foo friend) or say "No Sleep Till Brooklyn"
Nocturnal Animals (2016)
Which is more dangerous a loaded gun or a blank manuscript...
Part of my Michael Shannon Appreciation binge.
Sometimes it's hard to sort out our avenging angels and devils, and the pen isn't really mightier than the pistol, or is it? Guess it might depend on how deep the wounds go and how long they last. Or how long you the viewer last?
I was both pistol-whipped and plot-whipped by this (it's not a pleasant film), but stuck around to finish the job.
Anyways, the less you know about this film the better, and yeah if you too go on an MSA binge, I'd certainly recommend this one in the mix. Good for a Thu night, the darker the better.
A lot of love in this film
Not just the sweet nurse/stewardess/wife, nor the disco bear for his chaotic piglets, but Van Sant for John Callahan. A small favorite is Callahan with the editorial staff of the school paper too. The talented Joaquin Phoenix almost disappears into the Callahan role, who almost disappeared to drink.
Something about a Phoenix working with Van Sant, and then those scenes with the Portland skate youth, felt like a glimpse of the GVS' Own Private Portland.
For a redemption story that bends towards hope, I actually thought it avoided some of the saccharine others complained about. Surely there's love for the 12 Step Program, but if something works to saves lives....and it seems it did for Mr. Callahan, then halleluiah be Chucky's name.
Midnight Special (2016)
The Gruff Gentleman Genre
Who better to define the Gruff Gentleman than Michael Shannon, working again with Jeff Nichols.
The film beams its child messiah from science fiction rather than religion. And solar power sure looks promising in the eyes of our young lad.
Another way to look at this would be from the less popular side of an amber alert. Or even less plausibly as a Waco makeover. Nice to see Sam (RIP) Shepard protect his flock here.
I watched it as part of a Shannon appreciation project, and with an odd ear for Don Kirshner references.
Brigsby Bear (2017)
Destined to be the sweetest cult film?
Cult films usually have an edge, one of weirdness or danger, maybe both. Rarely do they feel like they foster a hope in mankind, sure the Dude Abides, but Brigsby flourishes.
I strongly agree with statements here saying the less you know the better, so I'll mark this review as a spoiler and hope folks stumbling across my profile here, just see this based on the rating. My twin teens and myself knew very little about this. In fact I watched about 15 minutes of it alone when my instincts were telling me to trust the film and have the boys join me in watching it.
I'm glad they did, and they are as well (rare are the movies where neither one says, "how long have we been watching" which happens even on films they claim to love). But they were committed to this one, and my guess is most teens feel to some degree as estranged as Kyle Mooney's character does in this. Although that character James' story is beyond ludicrous, somehow the filmmakers manage to elicit authentic feelings and resonance from it.
And it does with sex, drugs and some "dope as sh*t" mocking. But don't get hung up on that, focus instead on the family bonds. The old cliché of "Who are you and where did my son go" gets turned on its ear. Ultimately the message of creativity as a saving grace or guiding force, is good to hear at any age.
My comment to my boys was be the Spencer to someone's James. That character was noble. In Mooney, I see a comic who is both fine with self-denigrating humor that he stays buoyant through and thus winds up as self-affirming. He's done that often in his SNL skits, and this is a promising step out of that box.
The Big Sick (2017)
I finally love Raymond
I recall seeing Ray Romano a lot, billboards and buses and often with David Letterman, he seemed like a nice enough guy, but if I caught a few minutes of his eponymous sitcom, I would be wincing in instants. Even the title to me, smacked of the Billy Crystal, finger-in-the-cheek humor.
Granted he's only a side-player here, but by no means a minor one, he and Holly Hunter (always so amazing) are a great touchstone for older folks like the guy in my mirror. What is interesting is their relationship with its flaws and oddities, that ends up being as unflinching a look as the life-or-death strangers-passing-in-the-dating-pool that drives the film.
And the film has a sitcom vibe sure, but there are enough awkward moments that detract from the prepacked vibe.
It's a lively film with dead-pan humor, I wish I knew a LITTLE more about it (i.e. the based on a true story for the star/creator) as I might have convinced my wife to stick by my side through the crisis at the heart of the film.
And it's a very strong heart.
Alle Anderen (2009)
The bubble economies of love
Even in our own relationships, there is something we are missing in our partners, and I'm sure our partners while loving us, often miss what we feel are our best intentions, if not actions.
This film rides a voyeuristic spark, both in terms of the two main interests, but also there was the aspect of seeing the temple for lack of a better world, of the young man's mother whom we never meet. But mostly it is about young people in love, which sure is a flower with plenty of thorns, but one we all want to see take root and last for many seasons.
Yet relationships are hard, and moreso if linguistic currency, or even actual currency, is not set at a fair exchange. Trying to figure out who we are, is as much a challenge as trying to figure out whom we should be with. Don't wait on the former to start the latter, but they can come at cross purposes. Trying to ride past the person you thought you saw with who they actually are, that is certainly a challenge and seen in this film, where originally the young man seems to be cut from the wonderfully aware cloth that his mother swaddled him in. That contrast may parallel the contrast of where the couple is staying versus the ground where their financial footing actually lands.
Is this an Antonioni film for people in their 30's? Maybe, I enjoyed it and hope not all people, young or otherwise, feel relationships are always doomed. At least enjoy your time in that bubble with your love, where you manage to keep the world at bay (not just the infatuation whirlwind, although that is great for Everyone).
Wonder Woman (2017)
Watching With Teens: Well, it made me wonder...
....wonder what all the hype was about. WeeClaude's review has rightfully bubbled up to the top of those Ordered By Usefulness. Wow actually the top 10 such reviews all have similar things to say...and I concur.
Like many of those reviewers, the hype helped to doom my appreciation of this film, but even without that this is just not well done. It saddens me that DC (my Comic of choice as a kid) is being handed its many capes by Marvel.
Although I await some Dark Horse cinematic dark horses!
My boys liked it okay, some of the simple boy-girl (well Amazon) humor early on, and I guess there is a leit motif of feminism. Well maybe Daughters of the (Sexual) Revolution.
I'm no connoisseur of CGI, but a lot of the action just looked really bad. Worse than say the first Spider-Man. (Well the first first).
Life, Animated (2016)
Labors of Love, Film and Really Family
There are a lot of different ways to review this, and with a number of friends with children on the spectrum, I'm curious to get their take on it. (And enjoyed reading reviews from such folks here as well).
As a parent myself, I'd want something....anything...that fed optimism, so this film would be like a vitamin. Generally the notions of "we are getting older, how will our kid(s) survive" hits everyone, but surely more so for those with autism.
Anyways, the film surely moved me. How to communicate with kids can be challenging in all cases, but when they are seemingly incommunicative, it becomes imperative. So the way the film sets up the early transition for Owen into his overwhelmed state, and then finding the Disney connection was exhilarating.
It strangely reminded me of machine learning, the way Owen used a select set of Disney films to communicate heartbreak and fear and bullying. The power of sidekicks was wistfully beautiful. Elements of a detective story in unravelling Owen's thoughts.
The opportunities that the Suskinds had surely are not matched by all families. The scenes at the housing site were fascinating, even if it's a little hard to get past the camera, i.e. our eyes being so intrusive. Making a film out of Owen's sketches, and the speech in France...these are amazing gifts.
Nothing compared to the gift of love.
Mild spoiler : Gilbert Gottfried's best work!
The Shape of Water (2017)
At times, we all feel like a fish out of water...
Saw this film as a rare in-theater experience, with my 15 year old boys. They both gave it enthusiastic two fingers, errr thumbs, up. It is a love story, albeit one as you know from the poster with a creature from Del Toro's subconscious.
The film floats fairly smoothly, and perhaps for that reason I found myself drifting towards Michael Shannon's character. And yet they pile villainous vices upon him a tad too much for my taste. A befuddled Richard Jenkins adds sweetness beyond a piece of pie or three.
It's easy enough to lie back and enjoy the clever creativity of Del Toro, and the soundtrack is a nice blend of incidental music with songs from a simpler era (with more intricate dance steps.) Will Ms. Hawkins be another Oscar award winner rewarded for being female and mute (isn't that some kind of weird Hollywood tacit thing).
For what it's worth, I would have been fine seeing this on a small screen, although it was nice for the boys to enjoy it in proper fashion (and as a break during their finals week to boot!). By the way it is a R-rated film, with a couple of sex scenes...which is not a huge deal....but one of them has somewhat of a violent edge to it, and it is NOT one of the interspecies scenes. Anyways, something for parents though I suspect I'm not alone in feeling like 15 years olds can vary from feeling like 12 to 18 year olds. By the way we talked about it afterwards and they felt it was not a big deal.
As for the film overall, again gorgeous and such a tremendous opening scene, the trailer we had all seen long ago maybe set my sights a little too high, but on my own amphibious DNA I swear Blade Runner 2049 is a far richer picture.
Lu bian ye can (2015)
Gan Bi Begins
Your mileage may vary depending on which direction the trains and time are flowing. Curious to see bi-lingual Mandarin/English reviews, I tried to pause on the poems voiced over during the film, but too often they washed over me like the constant flow of water through-out.
The film is both heavy on symbolism, as well as strongly rooted on the earth, specifically the territory in the Guizhou Province, which apparently looks both rustic and post-industrial. Another review mentioned vehicles that fail that is a good metaphor for the film, but the viewer does travel with this film, if not where one might expect.
I am curious if the language ends up being a bigger tipping point to what is at play here. The blurring of characters/time perhaps indicated by key phrases or tenses. Or even in tense phrases, the scene in the make-shift salon where our Dr. Hero gets his haircut felt unsettling in an interesting way. And I wasn't even the woman giving the good Dr. his trim.
Besides the much discussed long single shot, so much fascinating tracking done (presumably by quite and highly reliable motorcycles) and great projected images at times.
Again I remain curious if this feels foreign to even folks familiar with the physical, if not emotional territory covered. I look forward to more films from Gan Bi after this auspicious beginning.
An epic for the small screen?
My short comment here might fly in the face of others; at least from what I've read on F'book. First I liked Hans Zimmer's soundtrack, and felt its volume (and drone power) were excellent. Also in (contrarian) hindsight, I would say wait and watch this on your small screen. Of course, with headphones that is.
So many scenes herein stressed a sense of claustrophobia. Shot in dogfight cockpit battles, or caught up in the hell of water-bound hulls....even aboard the mighty Minnow, er I mean, Moonstone...that's tight quarters. Big faces don't necessarily mean the big screen for me.
That being said, Mark Rylance was excellent by the way, and that's not just my AARP card talking. More of his level of noble honor in the most savage of situations would be welcome in fact and fiction.
Took my boys and some friends to the film, one of whom is quite the WWII "enthusiast" (well there may be a better word than that, but I remember kids like that when I was young and there is a degree of enthusiasm that strikes me in hearing them discuss authenticity and strategies.) For folks like that of any age, well you've already seen this film. For others, perhaps wait on renting after this film gets its Oscar nomination but before it fails to win Best Picture?? Also a fun fact, apparently the Germans were the enemy. (Yes I'm sure it was Nolan's intent, but I haven't read yet why, and honestly I'm not all that interested in the rationale behind his choice.)