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    Movie Review

    Netflix's Operation Mincemeat keeps the World War II genre alive

    Alex Bentley
    May 12, 2022 | 11:26 am
    Netflix's Operation Mincemeat keeps the World War II genre alive
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    If there’s one genre of movies that seems like it will never die, it’s World War II. Even more than 80 years past the start of that generation-defining war, filmmakers continue to be fascinated by its wide variety of stories. The latest to try its hand at enticing moviegoers is the British film Operation Mincemeat.

    Unlike many other WWII films, this one takes place mostly behind the scenes instead of on the battlefield. British Naval intelligence officer Ewen Montagu (Colin Firth) leads a team that’s been charged with coming up with a plan to deceive the Nazis into thinking the Allies will invade Greece instead of Sicily. Joined by fellow intelligence officer Charles Cholmondeley (Matthew Macfayden), MI5 clerk Jean Leslie (Kelly Macdonald), and Lieutenant Commander Ian Fleming (Johnny Flynn), among others, the group comes up with an audacious idea of dressing up a corpse in a military uniform, putting fake papers inside the uniform, and literally floating him into German hands.

    Not everyone is on board with the scheme, most notably Admiral John Godfrey (Jason Isaacs), who’s keen to put the kibosh on it from the get-go. Also threatening to upend the preparations is an unexpected romantic triangle between Montagu, whose wife and children are safe in the United States; Cholmondley, a lonely bachelor who lives with his mother; and Leslie, who allows herself to fall for Montagu knowing full well that he is spoken for.

    Directed by John Madden and written by Michelle Ashford, the film plays out as part military, part spy, and part morality story. The group understands that their plan has to be foolproof, and so they brainstorm the fake soldier’s life down to the most minute details. The scenes of them figuring out this part of the assignment serve two purposes: To show how much went into making the plan work, and to show how close the various members of the group are becoming.

    It’s unusual for this kind of film to spend as much time on romantic entanglements as this one does, but things become a bit clearer when you realize that the person popping up occasionally with narration is the character of Fleming, who would go on to a successful career as the writer of spy novels featuring one James Bond. While the triangle depicted is much more chaste and down-to-earth than anything that Bond would be involved with, you can see the filmmakers tipping their hat to the stories Fleming wrote.

    Still, the film does drag a bit at times due to the sheer amount of talking in it. The story the filmmakers are telling naturally contains little action, and so it’s replaced with exposition explaining the action that will take place in the future instead of showing it. A lot of it works, but there are times that they get a little too bogged down in the details.

    Firth has been one of the go-to actors for upstanding and proper English characters for quite some time, and he proves here yet again why that’s the case. His earnestness and almost literal stiff upper lip make him a natural for roles like this. Macfayden is his equal acting wise, but at least he gets to play with more emotional nuance. Macdonald, as she often has been in her career, is the heart of the film, giving her character a quiet strength that elevates both her part and the story as a whole.

    Operation Mincemeat is one of those World War II stories that’s notable for its daring, although the thrill of trying to pull it off doesn’t always come through on screen. It’s a serviceable film with some solid acting, but it won’t be added to the pantheon of great WWII movies.

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    Operation Mincemeat is now streaming on Netflix.

    Colin Firth and Matthew Macfayden in Operation Mincemeat.

    Colin Firth and Matthew Macfayden in Operation Mincemeat
    Photo by Giles Keyte/courtesy See-Saw Films and Netflix
    Colin Firth and Matthew Macfayden in Operation Mincemeat.
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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

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    Avatar: Fire and Ash opens in theaters on December 19.

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