
In the trench warfare of the Sinai desert, where Guy Ritchie sets his sights on his back-to-back World War II movies and claims yet another entertainingly delirious crime drama, what worked for him in the previous project brings into question in his latest. This is because Guy Ritchie is not known as a war movie director. At least it’s not the first thought that comes to mind when looking back at his work, including Snatch, Lock and Stock, or Aladdin. So why in the world did the British director put his skill in the hands of the English crown and then the director disappeared to the distant Arabian Peninsula in history? Why doesn’t this rather ridiculous story end in despair if you look at it the way it is presented in the movies?
Because Operation Postmaster aims for British intelligence operatives, after all, consider this a possibility American film enthusiasts begin the search for more and more serious war stories to cast their shadows over the more acclaimed figures. Perhaps Postmaster Space also has something remarkable going on, just don’t go expecting to be encountered by any tragic narrations. Operation Postmaster is for British action and the adventures of British commandos have never been the focus of attention. Despite all this, it can be said without any doubt that this operation was unfathomable.
For Ritchie, World War Two is little more than a backdrop for his quick-fire banter and frantic action. It is worth noting how in the center of it all stands an incredibly delightful Henry Cavill who plays Gus March-Phillipps with a surfeit of facial hair, a British man who looks like he walked straight out of the Dirty Dozen movie. Gus’s first appearance is quite off the hook, as he appears in handcuffs while drowning himself in brandy, and is a perfect depiction of silly anachronism that fits Ritchie’s trademark anti-hero stylings.
Ministry Turns To ‘UnÂgentleÂmanÂly Warfare’ Influence Of Genre Films Ritchie’s Work is not self-serious in any manner, introducing characters and plot features that recall evil geniuses and their minions in comic books to make the audience laugh. There’s the requisite chesty Norse type (Alan Ritchson) who could make Jack Reacher look like a kiddie with barely any kills; an insane firestarter (Henry Golding) with absolutely no functional utility beyond blowing things up and an unyielding bombshell intended for a Bond film (Eiza González) whose abilities seem so tantalizingly underutilized.
While Inglourious Basterds provides a hypothetical whirlwind of vengeance and sorrow, Ritchie’s war is more of a pop-saturated cartoon war. In this kingdom, the Nazis are simply assistants for the motley crew of Allied renegade cutthroats. Without a hint of finesse, the video game NPC cannon fodder is blown away by bullets, arrows, switchblades, axes and an occasional bomb. This is a simplified story in which the enemy is satisfactorily revealed to be evil and the main character is a whole lot of plot armor for not losing anything. Gritty realism is absent from Yale for more than it ever was in practice during actual wartime filming: plot armor.
The head antagonist, Heinrich Luhr, who is portrayed by Til Schweiger, comes across as a poor substitute for Christoph Waltz’s iconic Hans Landa. Waltz, who already won an Oscar for his outstanding performance, was a master of malicious enchantment. Forget about the great villain who was Luhr, the pantomime baddie was only a two-dimensional villain cut out. Comparing Luhr’s performance to Waltz is pointless because it is always disappointing whereas one should expect his originality and perspective, not a meager imitation.
A historically accurate world is also portrayed, albeit one that is reinterpreted through Ritchie’s typical lens. Characters played by Freddie Fox Rory Kinnear Ian Fleming respectively are not developed to fit the script but are simply included for the sake of Ritchie’s Easter egg purposes. There are many such clichés that Ritchie makes use of throughout the film and which he does not bother hiding. The film’s humorous score also recalls familiar melodic patterns, such as those of Ennio Morricone, while appearing out of place with many of the severe action sequences in the film and inevitably rendering the notion of any real danger within the film rather laughable.
However, flaws and all, The Ministry of Ungentlemanly Warfare does manage to be entertaining. It’s a good old-fashioned popcorn flick, the kind of movie where people sit down with their friends and laugh at how stupid it is. Like his co-stars, Cavill raises an incomprehensible level of arrogance and after all never ceases to accomplish sophisticated, exaggeratedly beautiful action scenes that, naturally, function as a spectacular style of Ritchie.
Despite the added flavor, such historical events are more or less rendered into solemnities, somewhat reminiscent of the Guns of Navaronne style of film-making. But Ritchie’s devil-may-care attitude transforms The Ministry of Ungentlemanly Warfare into a more enjoyable film crazed people impudently unbarred and completely unruffled by anything so sacred as fully escaping into sjwism. Except, of course, if you happen to be a Nazi or an academic with a twatty fascination with history.
For More Movie Like The Ministry of Ungentlemanly Warfare Visit on 123Movies