Blitz, 2024.
Written and Directed by Steve McQueen.
Starring Elliott Heffernan, Saoirse Ronan, Harris Dickinson, Benjamin Clémentine, Kathy Burke, Paul Weller, Stephen Graham, Leigh Gill, Mica Ricketts, CJ Beckford, Alex Jennings, Joshua McGuire, Hayley Squires, Erin Kellyman, Sally Messham, Josef Altin, Sandra Huggett, Thea Achillea, Grahame Fox, David Kirkbride, Tommy Daley, Thomas Aitch, Charlie Hodson-Prior, Fraser Holmes, Gavi Singh Chera, Gerard Monaco, Max Gold, Matt Bardock, Lizzie Hopley, Heather Craney, and Christopher Chung.
SYNOPSIS:
Follow the stories of a group of Londoners during the events of the British capital bombing in World War II.
There’s no denying that writer/director Steve McQueen has found a unique perspective for his World War II story Blitz. His direction is also expectedly meticulous and sublime, thoughtfully constructed to wring maximum tension out of each perilous sequence, whether it be escaping a train, avoiding a collision with trains, or surviving flooded subways (some of the scenarios.) However, this story is surprisingly broad and feels like any other filmmaker could have told it; it just wouldn’t have had the bonafide spectacle and dynamic presentation Steve McQueen brings.
There is a clever inversion in that it’s not following the mother, Rita (a powerful Saoirse Ronan, who also gets to show off some lovely singing vocals), searching for her son to be reunited. Instead, it follows George (young Elliott Heffernan delivering reasonably impressive newcomer work, especially for essentially carrying the entire film as the lead), born of an interracial relationship and Black, sent away during the blitzkrieg bombings on London to the countryside where a family would look after him and ensure his safety until tensions cool down in the danger zone that is his home. He’s not too thrilled about this and angrily takes it out on his mother, expressing that he hates her instead of reciprocating her love before they are separated. Making matters more precarious, he doesn’t want to go to this family, opting to abscond from the moving train, homeward bound.
From there, a series of misadventures ensue that come across as episodic, making one wonder if this was initially meant to be a limited series project for Steve McQueen. Most of the characters George encounters – ranging from a dignified and noble officer named Ife (Benjamin Clémentine) who gets the bullied and racially confused boy in touch with his Blackness, a caricature band of thieves forcing him to maneuver his way through tight areas into abandoned shops to steal some valuables, a stretch hanging out with some similarly aged boys also looking to run away which has a grim conclusion, and more – feel condensed, as if the film is only concerned with hitting the necessary character beats and moving on. One can easily imagine an entire episode fixated on each situation.
When it comes to period piece authenticity, though, no dollar left has been spared, re-creating everything from homes, detailed murals on subway station walls, nightclubs (that get an entire musical number before getting blown to bits), burning buildings, and high-end expensive destruction. With that in mind, Blitz feels like it falls into the trap many streaming titles do, which is sacrificing storytelling for spectacle. Knowing that Steve McQueen is the director, it’s a shock to type that out.
Nevertheless, one also gets the sense that George desperately wants to use his bravery and wits to make it back home because he is filled with regret and knows full well that his potential last words to his mother were cruel. In a supporting but still substantial role, Saoirse Ronan’s Rita ditches her munitions factory work to search for George, insisting that his grandfather (Paul Weller) stay home in case the boy does return. She also takes a more active role in supporting those affected and displaced by the wreckage.
Blitz has an emotional impact, but the journey there often feels lacking in characterization (a problem since it’s introducing new ones or killing them off every 20 minutes), somewhat too preoccupied with what Steve McQueen can do with a bigger budget. The answer is that he can still direct the hell out of a movie and make one feel every bit of suspense. However, the narrative is disappointingly broad and possibly would have benefited from keeping George with Ife for longer; their scenes together exploring Blackness, that culture, and how they are treated are far more compelling than the several action beats on display. Thankfully, that action and the performances here are more than serviceable, so it evens out.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
