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Blitz Reviews
It’s paint-by-numbers petty behavior punctuated with noble valor: diverting but never really enthralling.
Blitz isn’t a bad film, but it plays things far too safe. A war-time Dickensian attempt in which McQueen fails to move emotionally. [Full Review in Spanish]
Blitz approaches the genre of war movies in an entirely unique way by portraying the conflict from the perspective of a child. This proves to be a successful twist in an otherwise overly saturated genre that can often feel repetitive.
It is a correct and fairly conventional film about the Second World War, which, while offering us a particular and different story from what we could have seen, does not end up dazzling. [Full Review in Spanish]
It's basically McQueen’s version of Steven Spielberg’s Empire of the Sun, though without any of the emotional attachment we had with a young Christian Bale.
At times Blitz is a notch tropey and wastes a perfectly good Harris Dickinson (Triangle of Sadness) in a pointless role, but the shortcomings are far fewer than the things McQueen gets right.
The epic scope of war is balanced with intimate moments of personal triumph and despair, resulting in a film that resonates both emotionally and historically.
Recreation of the tension, fear, and family separations during the London Blitz in World War II, similar to what is going on today.
George's incredible journey is extremely compelling, as is his mother's determination to find him. This movie is loaded with great performances, compelling narratives and characters. It is about evil, and those who oppose evil, even when all seems lost.
While I appreciated the bleak moments, Blitz is ultimately uplifting. The film is a tribute to a people, not necessarily unified culturally or politically, who shared a common desire to survive, save their children, and defeat totalitarianism.
Blitz often feels like a pitched battle between the conventions of big-canvas war recreation and an attempt to evoke the stranger, less obviously narrative-driven chaos that happens when the battlefield descends on a major urban center from the sky.
It is honest, sometimes inspired, and empathetic most of the time -in its own, mildly revisionist way.
There’s something quietly subversive about McQueen smuggling this story of the dispossessed into the stuffy old World War II drama.
Blitz is one of 2024’s best films.
The edginess that’s marked Steve McQueen’s earlier work is absent in “Blitz,” a tale of the German bombing of London in 1940 that’s beautifully rendered but so cliché-ridden and nostalgia-suffused that the word hokey springs to mind.
Despite a neat visual aesthetic marked by glossy frames of war destruction, the film gets lost in the multiplicity of its ambitions, tangled in conventional triteness and sentimentality.
Blitz knows what it's doing and why, but its compromises may be more self-deceiving than subversive. Cloaking himself more heavily than ever in populist hand-me-downs, McQueen gets swallowed up by his own brilliant disguise.
While Steve McQueen's story structure is episodic and formulaic, he - along with production designer Adam Stockhusen and cinematographer Yorick Le Saux, visually recreate not only London under attack but also the frenzied, integrated nightclub scene.
The performances are good, the physical production impressive, the handling of individual scenes generally tight and effective. But there’s just so much going on that I practically succumbed to eye-rolling. More is not always better.
McQueen, whose unflinching "12 Years a Slave" won Best Picture in 2013, softens his touch a bit here. But his eye is as sharp as ever, and he identifies beauty even in the darkest of spaces...