Riveting 'Dunkirk' Is Nolan's, and Year's, Best

“Dunkirk“ is not a typical war movie.

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There are no brothers in arms, no flashbacks to simpler times and pretty wives and girlfriends left behind, no old men in situation rooms pontificating about politics or helping with exposition. There’s no talk of Hitler, or Germans or battlefields or trauma or mothers. In fact, there’s hardly any talk at all, or, for that matter, even any characters in the traditional sense.

But don’t be mistaken: Christopher Nolan’s “Dunkirk” is a stone cold masterpiece.

It’s a stunningly immersive survival film told in 106 thrillingly realized minutes. Nolan puts the viewer right in the action whether it’s on the beach with 400,000 men queued up and waiting for a rescue that may never come, on the waters of the English Channel in the little civilian ship headed into hostile waters with only an aging man and two teenage boys aboard, or in the air above in the two lone Spitfires that are quickly running out of fuel.

I’ve never experienced anything quite like “Dunkirk’s” intoxicating immediacy. The screen and images envelope you with urgency, dread and moments of breathtaking beauty and grace as you wait with the soldiers, as the title card at the beginning says, for deliverance.