60 Hz 1917 Vudu

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India, UK. Average Rating - 8,9 / 10. Genre - War, Drama. 253441 Vote. 1Hours 59Min. Writer - Krysty Wilson-Cairns. Where he run across the battlefield is etched to my mind forever - such an epic and beautiful scene. YouTube. ΧίλιΠΕννιÎκόσιΠΔεκÎεπici pour visiter. Filme top, parece mesmo a guerra. Quando eu estive lá em 1917 era assim mesmo. sobrevivi pq fiquei escondido de baixo da trincheira com um fuzil e 3 muniçõé a hora que chegou o inimigo com uma metralhadora pra me arrebentar e não sobrar nada, aí quando ele foi me matar, minha mãe me acordou e eu tive que ir trabalhar. Na moral, minha mãe é empata sonhos.

Ansioso pra ver essa bagaça.

“Those who fail to learn from history are doomed to repeat it”

And the Oscar for cinematography goes to. Roger Deakins (again. Its well directed but not best film. Ensimmäinen maailmansota on kuumimmillaan. Kaksi nuorta brittisotilasta, Schofield (George MacKay) ja Blake (Dean-Charles Chapman), saavat mahdottoman tehtävän. Heidän tulee päästä vihollislinjan läpi ja viedä perille viesti, joka estää satoja sotilaita vastaan suunnitellun kuolettavan iskun. Iskun kohteena on myös Blaken veli. TAISTELULÄHETIT – 1917 -elokuvan ohjaa Sam Mendes, joka myös kirjoitti käsikirjoituksen yhdessä Krysty Wilson-Cairnsin (Penny Dreadful) kanssa. Sam Mendesin aiempiin ohjaustöihin lukeutuvat muun muassa Oscar-palkitut elokuvat Skyfall, Spectre ja American Beauty. Movie details Classification drama, war Original title 1917 (Taistelulähetit-1917) Actors Benedict Cumberbatch, George MacKay, Dean-Charles Chapman, Richard Madden, Mark Strong, Colin Firth Script Sam Mendes, Krysty Wilson-Cairns Material notes © 2019 Universal Pictures and Storyteller Distribution Co., LLC. All Rights Reserved. Further information Katja Viitalähde-Annala Tiedottaja 050 395 6084 Materiaalit ja lehdistönäytökset: Katri Kervinen Markkinointikoordinaattori 050 357 2313 Enquiries Kino Kyntäjä / Sun Kino 0400-570507 Company id: 2528038-7.

Wasn't prepared for the lack of action from opening to screen credits, but I was pulled in from the very beginning. That feeling of choosing someone for an assignment that you know nothing about until it is too late. All the way through the ending. It shows the true reality of war in a way I don't recall ever seeing. ΧίλιΠΕννιÎκόσιΠΔεκÎεπici pour voir la video. To say that those soldiers fought for a free and unified Europe is a bit of a stretch. A lot of them had no idea what they were fighting for, many others were doing it for king and country, and many others were forced to. Apart from that, I really appreciated this analysis.

Leurs états de santé. 1917 is definitely a decent movie, and yes, there is no denying that the ambitious "one-take" filming method was very impressive and certainly an achievement, but the writing was paper-thin at times- not as much as Roma was (not that bad) but it had some weaknesses.
Before watching it I glanced through a few reviews, and one in particular that stood out as ambivalent is the one I recalled, as I agreed with the reviewer's opinion that 1917 has every war movie cliché you could think of.
Literally every cliché is in here as its main scenes, but there is something else I found even more bothersome than that, which is that a few of the scenes are actually dumb. For example, the two messengers witness a dog fight, and they actually identify their allies as winning, but a few moments later the plane they are pursuing is shot down and lands nearby where they are. Rather than play it cautiously, they immediately rush to assist the enemy out of the plane to try to save him. This directly leads to one of them being killed when the pilot stabs the one of them. I mean, what kind of solider in a major war would naively try to save an enemy without their weapons drawn and cautiously? This was very problematic to me.
Another issue that I had once again pertained to suspension of disbelief, or implausibility in that the surviving messenger is shot at constantly throughout his journey with bullets just missing his head on numerous occasion. I mean, this guy has plot armour on him that is thicker than season 8 of Game of Thrones, particularly the episode, The Long Night. Everyone around him is constantly getting blasted by bombs and bullets, yet this guy is just luckily and randomly getting missed. For one scene, I would be like, okay, but this goes on in every battle scene all the way through to the end. I'm not an expert on WWI, but at what point does the viewer have to say, There's no way this is how it was- that a guy can just expose himself constantly to gunfire, bombs, and hellfire, and not get a scratch on him?
Don't get me wrong. There is no denying that this was a good movie, but I couldn't help but feel those three main criticisms: the clichés, the plot armour/suspension of disbelief, and the thin writing. And pertaining to the thin writing, I understand that they needed to give the actors lines, of course, but every single dialogue felt like they had to put "that" kind of scene in to make it feel like a war movie, and that's not to say it was bad, but just cliched.
Speaking of the writing, if you are a person who mostly enjoys great, original dialogue and style, then you will probably notice this too. However, you will also be unable to deny how impressive the "one-take" filming method is. Another thing to mention is that due to the thin writing, it gave off a very nihilistic vibe a lot of the time. I questioned often if there was any deeper meaning to anything being shown. The reason why is because it seemed like they were going for some depth, but the climaxes were not reaching any moral or lesson. Again, when the pilot was being saved, I thought, okay, he's showing that in war helping your enemy is noble. but then it results in a nonsensical death, and yet still it wasn't trying to say not to trust your enemies in war, either; it was just a random event brought about by being stupid by underestimating the pilot in an unprofessional soldier way for a big war.
Finally, I have one other big issue with this. Toward the end, this stranger basically crashes the battalion's gathering, and he begins asking where the Commander is, okay. Not one single soldier asks him for identification to confirm he isn't some rabid dog or assassin. They easily trust him and give up the location of their head Commander. But that isn't all- that is just the very back group he first meets. As he proceeds to chase after the Commander, trained soldiers allow this maniac to just knock them over one by one without being suspicious of him or questioning what his problem is as he advanced through. But it doesn't even end there; when he arrives at the bunker area, or front line, he continues to ask where the commander is, and the other captains continue to immediately comply with his request, giving up the location of their Commander to a stranger like it is no big deal. Seriously? What if he was an assassin? Nobody asks for his identification or why he wants the Commander's location. Oh, that is until he finally arrives outside his door. It is finally THEN that they make a big deal about what kind of a threat he can be. I had big problems with how this scene was set up. We're supposed to believe the Commander of the entire mission is supposed to be that simple and easy to get to when being pursued by an outside low ranking soldier?
On a plus note, I liked the very end and thought most of the movie sufficed as entertaining and a decent watch. However, I would NOT qualify this as a Best Picture favorite at the Academy Awards due to said issues. It had beautiful filming and beautiful shots, but the writing came up cliched and short of what it should require.
-1 (Little character development/thin writing) 9 (Cinematography/One-Take choreography success) 1 (Cliches/Suspension of Disbelief/Plot Armor) 7
7/10.

Wow, that thumbnail is jaw dropping. ΧίλιΠΕννιÎκόσιΠΔεκÎεπi v e.

I love good comedies like this one. I laughed for 2 hours

We've been playing g this game for like 3 years

ΧίλιΠΕννιÎκόσιΠΔεκÎεπi.e.l. Oscar-voittaja: Paras kuvaus ja visuaaliset tehosteet! Golden Globe -voittaja: Paras elokuva ja ohjaus ja seitsemän BAFTA:n voittaja; mm. paras elokuva, paras kuvaus, paras ohjaaja. "--aito valkokangaselämys, joka erottuu supersankarielokuvien ja muun massaviihteen seasta kuin kirkas valonväläys. -- Mendes kertoo vangitsevan tarinan keinoilla, joita vain elokuvalla on. Se on puhdasta elokuvataidetta, cinemaa. Tällaista varten suuret valkokankaat ovat. " HS 4/5 "Uskomaton tekninen suoritus ja ennen kaikkea vahva sotadraama, joka todennäköisesti nappaa ainakin muutaman Oscarin. " 4/5 Episodi "Sam Mendes turns western front horror into a single-shot masterpiece" 5/5 The Guardian *** Ensimmäinen maailmansota on kuumimmillaan. Kaksi nuorta brittisotilasta, Schofield (George MacKay) ja Blake (Dean-Charles Chapman), saavat mahdottoman tehtävän. Heidän tulee päästä vihollislinjan läpi ja viedä perille viesti, joka estää satoja sotilaita vastaan suunnitellun kuolettavan iskun. Iskun kohteena on myös Blaken veli. TAISTELULÄHETIT – 1917 -elokuvan ohjaa Sam Mendes, joka myös kirjoitti käsikirjoituksen yhdessä Krysty Wilson-Cairnsin (Penny Dreadful) kanssa. Sam Mendesin aiempiin ohjaustöihin lukeutuvat muun muassa Oscar-palkitut elokuvat Skyfall, Spectre ja American Beauty. Elokuvassa käytetään ainutlaatuista pitkien ottojen tekniikkaa. Ohjelmistomme julkaistaan alan käytännön mukaan aina maanantaisin viikoksi kerrallaan – elokuvaviikko on perjantaista torstaihin. Etkö löytänyt sopivaa näytöstä? Lisää julkaistaan aina maanantaisin! Ohjaus Sam Mendes Käsikirjoitus Sam Mendes, Krysty Wilson-Cairns Rooleissa Andrew Scott (Lieutenant Leslie), Benedict Cumberbatch (MacKenzie), Dean-Charles Chapman, Richard Madden (Lieutenant Blake), Mark Strong, Colin Firth, George MacKay (Schofield), Chris Walley (Private Bullen), Adrian Scarborough (Major Hepburn), Teresa Mahoney (Lt & Pte Blake's Mother) Kieli englanti Tekstitys suomi/ruotsi.

I can only get so hyped. ΧίλιΠΕννιÎκόσιΠΔεκÎεπ. 我完全投入 尤其是老鼠踩到引爆線時，嚇得我一個大呼過癮. Why tf is everyone here suddenly knows bruce lee.

Pelo trailer deu muita vontade de assistir os filmes de temática sobre a primeira guerra, são muito bem feito.

Please look up vocal fry and stop doing it. ΧίλιΠΕννιÎκόσιΠΔεκÎεπi o n. ΧίλιΠΕννιÎκόσιΠΔεκÎεπici pour visiter le site. Steven Seagal deserves this kind of disrespect, not the legend. I saw it for a second time last night and noticed that the opening shot is a field with a lone tree in the background. The movie ends with Schofield back in another field leaning against a lone tree. I think imagery is a brilliant way to show the completion of his journey. ΧίλιΠΕννιÎκόσιΠΔεκÎεπici pour accéder.

Why are the guards speaking with Russian accents but they are supposed to be in South Africa.

ΧίλιΠΕννιÎκόσιΠΔεκÎεπi.f.e. Nice to see WW1 making a comeback on film. Ställa in hertz på vissa enheter | Kundservice Ställa in hertz på vissa enheter – Kundservice Behöver du hjälp? Sök bland våra frågor och svar om Viaplay! Hertz används bland annat för att förklara hastigheten i hur olika elektroniska apparater drivs. Olika delar av världen har olika hertz som standard, i Europa har vi exempelvis 50 Hz samtidigt som de i Nordamerika har 60 Hz i respektive elnät. Som en följd av det använder film- och TV-industrin 50 respektive 60 bilder per sekund (också kallat frames per second, förkortat fps). Det innebär att samtliga sändningar som vi på Viaplay erbjuder är anpassade efter 50 Hz-standarden – det vill säga 25 eller 50 fps. För bästa möjliga upplevelse rekommenderar vi därför att samtliga enheter i hemmet är inställt på 50 Hz (notera att detta inte manuellt går att ställa in på alla apparater). Skulle den enhet man använder sig av vara inställd på något annat än detta kan det upplevas som att sändningen hackar då videoströmmen skalas om för att passa en annan standard. Här kan du hitta instruktioner på hur du ändrar detta på Playstation 3, Apple-TV och Chromecast: Playstation 3: Inställningar > Videoinställningar > Välj 50 Hz Apple TV: Inställningar > Ljud och Video > TV-upplösning > Välj ”1080p-50 Hz eller 720p-50 Hz” (viktigt att den inte är inställd på något alternativ med 60 Hz) Chromecast: Använd Chromecast-appen via din mobila enhet > Enheter > uppe i högra hörnet på den enhet du vill ändra klickar du på de tre punkterna > Enhetsinställningar > Skärm > Använd HDMI med 50 Hz Var den här artikeln till hjälp? 45 Kontakta oss.

Pres l'un de l'autre... ΧίλιΠΕννιÎκόσιΠΔεκÎεπici pour voir. 1917 UK theatrical release poster Directed by Sam Mendes Produced by Sam Mendes Pippa Harris Jayne-Ann Tenggren Callum McDougall Brian Oliver Written by Krysty Wilson-Cairns Starring George MacKay Dean-Charles Chapman Mark Strong Andrew Scott Richard Madden Claire Duburcq Colin Firth Benedict Cumberbatch Music by Thomas Newman Cinematography Roger Deakins Edited by Lee Smith Production company DreamWorks Pictures Reliance Entertainment New Republic Pictures Mogambo Neal Street Productions Amblin Partners Distributed by Universal Pictures (United States) Entertainment One Films (United Kingdom) Release date 4 December 2019 (London) 25 December 2019 (United States) 10 January 2020 (United Kingdom) Running time 119 minutes [1] Country United Kingdom United States Language English Budget $90–100 million [2] [3] Box office $363. 8 million [4] [5] 1917 is a 2019 British epic war film directed, co-written, and produced by Sam Mendes. The film stars George MacKay and Dean-Charles Chapman, with Mark Strong, Andrew Scott, Richard Madden, Claire Duburcq, Colin Firth and Benedict Cumberbatch in supporting roles. It is based in part on an account told to Mendes by his paternal grandfather, Alfred Mendes. [6] The film tells the story of two young British soldiers during the First World War who are ordered to deliver a message calling off an attack doomed to fail soon after the German retreat to the Hindenburg Line during Operation Alberich in 1917. This message is especially important to one of the young soldiers, as his brother is taking part in the pending attack. The project was officially announced in June 2018, with MacKay and Chapman signing on in October and the rest of the cast the following March. Filming took place from April to June 2019 in the UK, with cinematographer Roger Deakins and editor Lee Smith using long takes to have the entire film appear as one continuous shot. [7] [8] [9] 1917 premiered in the UK on 4 December 2019 and was released theatrically in the United States on 25 December by Universal Pictures and in the United Kingdom on 10 January 2020 by Entertainment One Films. The film received praise for Mendes's direction, the performances, cinematography, musical score, editing, sound design, and realism. Among its accolades, the film received ten nominations at the 92nd Academy Awards, including Best Picture and Best Director, and won three, including Best Cinematography. It also won Best Motion Picture – Drama and Best Director at the 77th Golden Globe Awards, and at the 73rd British Academy Film Awards won a leading seven, including Best Film and Best Direction. It also won the Producers Guild of America Award for Best Theatrical Motion Picture, and Mendes won the Directors Guild of America Award for Outstanding Directing – Feature Film. Plot [ edit] On 6 April 1917, aerial reconnaissance has observed that the German army, which has pulled back from a sector of the Western Front in northern France, is not in retreat but has made a strategic withdrawal to the new Hindenburg Line, where they are waiting to overwhelm the British with artillery. In the British trenches, with field telephone lines cut, two young British soldiers, Lance Corporals William Schofield, a veteran of the Somme, and Tom Blake, are ordered by General Erinmore to carry a message to Colonel Mackenzie of the Second Battalion of the Devonshire Regiment, calling off a scheduled attack that would jeopardise the lives of 1, 600 men, including Blake's brother Lieutenant Joseph Blake. Schofield and Blake cross no man's land to reach the abandoned German trenches. In an underground barracks, they discover a booby-trap tripwire, which is promptly triggered by a rat. The explosion almost kills Schofield, but Blake saves him, and the two escape. They arrive at an abandoned farmhouse, where they witness a German plane being shot down. Schofield and Blake rescue the German pilot from the burning plane. However, the pilot stabs Blake and is shot dead by Schofield. Schofield comforts Blake as he dies, promising to complete the mission and to write to Blake's mother. Schofield is then picked up by a passing British unit. A destroyed canal bridge near Écoust-Saint-Mein prevents the British lorries from crossing. Schofield chooses to part with them at the bridge, but before he does, one of the unit's officers Captain Smith, warns Schofield that Colonel Mackenzie is someone who would rather fight than follow orders. He then uses what is left of the bridge to cross alone, and quickly comes under fire from a German sniper. He and the sniper shoot each other simultaneously; the sniper is killed, while Schofield is knocked unconscious. He regains consciousness at night, and finds the town in flames. He encounters another German soldier, and escapes by hiding in the basement of an abandoned building, where he stumbles into the hiding place of a French woman with an infant. She treats his wounds, and he comforts the infant by reciting "The Jumblies" by Edward Lear, giving the woman his canned food and milk from the farm. Despite her pleas, Schofield leaves soon after, realising that it is morning. After strangling one German soldier and pushing past another who is inebriated, he escapes by jumping into a river. He is swept over a waterfall before reaching the riverbank. In the forest, he finds D Company of the 2nd Devons, which is in the last wave of the attack. As the company starts to move toward the front, Schofield tries to reach Colonel Mackenzie. Realising that the trenches are too crowded for him to make it to Mackenzie in time, Schofield sprints across the open battlefield, just as the infantry begins its charge. He forces his way into meeting Mackenzie, who reads the message and reluctantly calls off the attack. Mackenzie says that, while the cancellation offers a temporary reprieve, command will likely change its orders in a week. Schofield is told that Joseph was in the first wave, and he searches for him among the wounded, finding him unscathed. Joseph is upset to hear of his brother's death, but thanks Schofield for his efforts. Schofield gives Joseph his brother's rings and dog tag, and asks to write to their mother about Blake's heroics, to which Joseph agrees. Exhausted, Schofield sits under a tree, looking at photographs of his wife and two daughters. Cast [ edit] Production [ edit] Development and casting [ edit] Amblin Partners and New Republic Pictures were announced to have acquired the project in June 2018, with Sam Mendes directing, and co-writing the screenplay alongside Krysty Wilson-Cairns. [10] Tom Holland was reported to be in talks for the film in September 2018, though ultimately was not involved, [11] and in October, Roger Deakins was set to reunite with Mendes as cinematographer. [12] George MacKay and Dean-Charles Chapman entered negotiations to star the same month. [13] Thomas Newman was hired to compose the score in March 2019. [14] The same month, Benedict Cumberbatch, Colin Firth, Mark Strong, Richard Madden, Andrew Scott, Daniel Mays, Adrian Scarborough, Jamie Parker, Nabhaan Rizwan, and Claire Duburcq joined the cast in supporting roles. [15] Writing [ edit] In August 2019, Mendes stated, "It's the story of a messenger who has a message to carry. And that's all I can say. It lodged with me as a child, this story or this fragment and obviously I've enlarged it significantly. But it has that at its core. " [16] In Time in 2020, Mendes stated that the writing involved some risk-taking: "I took a calculated gamble, and I'm pleased I did because of the energy you get just from driving forward (in the narrative), in a war that was fundamentally about paralysis and stasis. " The ideas for a script, which Mendes wrote with Krysty Wilson-Cairns, came from the story that Mendes's grandfather, Alfred Mendes, a native of Trinidad who was a messenger for the British on the Western Front, had told him. [17] Mendes stated: "I felt an obligation to honour my grandfather. It's important to remember they were fighting for a free and unified Europe. Good to be reminded of that now. " [18] Filming [ edit] Roger Deakins was the cinematographer for the film, reuniting with Mendes for their fourth collaboration, having first worked together on Jarhead in 2005. [17] Filming was accomplished with long takes and elaborately choreographed moving camera shots to give the effect of two continuous takes. [7] [8] Although media accounts often refer to the story as being told in only one shot, [19] [20] the story cuts to black one hour and six minutes into the film, when Schofield is knocked unconscious, and fades in upon his regaining consciousness after night has fallen. [9] Mendes explained, "it was to do with the fact that I wanted the movie to go from afternoon to dusk, and then from night into dawn. I wanted it to be in two movements... I wanted to take it somewhere more like a hallucination. Somewhere more surreal, almost dream-like. And horrifying too". [7] 1917 was the first film to be shot with the Arri Alexa Mini LF digital cinema camera. Deakins wanted to use a camera with a large format image sensor, but thought that the original Alexa LF was too large and heavy to capture the intimate shots he wanted. Arri provided him with a prototype of the Mini LF two months before filming was set to begin, and two more cameras a week before. [21] [22] His lenses were Arri Signature Primes, of which he used three focal lengths: a 40 mm lens for most of the film, a wider 35 mm for scenes in the tunnels and bunkers, to emphasise feelings of claustrophobia, [22] and a narrower 47 mm in the river, to lose some of the background. [23] Filming began on 1 April 2019 and continued through June 2019 in Wiltshire, Hankley Common in Surrey and Govan, Scotland, as well as at Shepperton Studios. [24] [25] [26] [27] Concern was raised about filming on Salisbury Plain by conservationists who felt the production could disturb potentially undiscovered remains, requesting a survey before any set construction began. [28] [29] Some shots required the use of as many as 500 background extras. [2] Sections of the film were also shot near Low Force, on the River Tees, Teesdale in June 2019. The production staff had to install signs warning walkers in the area not to be alarmed at the prosthetic bodies strewn around the site. [30] Music [ edit] Release [ edit] The film premiered on 4 December 2019 at the 2019 Royal Film Performance. [31] The film began a limited release in the United States and Canada on 25 December 2019 in eleven venues. This made it eligible for 2020 awards, including the 77th Golden Globes, held on 5 January 2020, where the film won both the Golden Globe for Best Dramatic Motion Picture and Best Director for Mendes. [32] Home media [ edit] 1917 is scheduled to be released on Digital HD on 10 March 2020 and on DVD, Blu-ray, and Ultra HD Blu-ray on 24 March 2020. [33] Reception [ edit] Box office [ edit] As of 6 March 2020, 1917 has grossed $157. 3 million in the United States and Canada and $206. 5 million in other countries, for a worldwide total of $363. 8 million, [4] against a production budget of $90–100 million. [2] [3] In the US, the film made $251, 000 from 11 venues on its first day of limited release. [34] It went on to have a limited opening weekend of $570, 000, and a five-day gross of $1 million, for an average of $91, 636 per-venue. [35] The film would go on to make a total of $2. 7 million over its 15 days of limited release. It then expanded wide on 10 January, making $14 million on its first day, including $3. 25 million from Thursday night previews. It went on to gross $36. 5 million for the weekend (beating the original projections of $25 million), becoming the first film to dethrone Star Wars: The Rise of Skywalker at the box office. [36] In its second weekend of wide release the film made $22 million (and $26. 8 million over the four-day Martin Luther King Jr. Day holiday), finishing second behind newcomer Bad Boys for Life. [37] It then made $15. 8 million and $7. 7 million the following two weekends, remaining in second both times. [38] [39] The weekend of the Academy Awards the film made $9. 2 million, and the weekend after its three wins made $8. 1 million. [40] [41] Critical response [ edit] Professional ratings Aggregate scores Source Rating Metacritic 78/100 [42] Rotten Tomatoes 89% [43] Review scores Source Rating Empire [44] The Guardian [45] On review aggregation Rotten Tomatoes, the film holds an approval rating of 89% based on 398 reviews, with an average rating of 8. 38/10. The website's critics consensus reads, "Hard-hitting, immersive, and an impressive technical achievement, 1917 captures the trench warfare of World War I with raw, startling immediacy". [43] Metacritic assigned the film a weighted average score of 78 out of 100 based on 57 critics, indicating "generally favorable reviews". [42] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale, and PostTrak reported it received an average 4. 5 out of 5 from viewers, with 69% of people saying they would definitely recommend it. [36] Several critics named the film among the best of 2019, including Kate Erbland of IndieWire [46] and Sheri Linden of The Hollywood Reporter. [47] Karl Vick, writing for Time magazine, found the film to stand up favourably when compared to Stanley Kubrick 's WWI film Paths of Glory, stating, "motion pictures do require a certain amount of motion, and the major accomplishment of 1917, the latest film to join the canon, may be that its makers figured out what the generals could not: a way to advance. " [17] Rubin Safaya of described the movie as "a visceral experience and visual masterclass". [48] Writing for the Hindustan Times, Rohan Naahar stated, "I can only imagine the effect 1917 will have on audiences that aren't familiar with the techniques Sam Mendes and Roger Deakins are about to unleash upon them. " [49] In his review for NPR, Justin Chang was less positive. He agreed the film was a "mind-boggling technical achievement" but did not think it was that spectacular overall, as Mendes's style with its impression of a continuous take "can be as distracting as it is immersive". [50] Top ten lists [ edit] 1917 appeared on many critics' year-end top-ten lists: [51] 1st – Sam Allard, Cleveland Scene [52] 1st – Johnny Oleksinski, New York Post [53] 1st – Tim Miller, Cape Cod Times [54] 1st – Lawrence Toppman, The Charlotte Observer [55] 1st – Mal Vincent, The Virginian-Pilot [56] 1st – Sandy Kenyon, WABC-TV [57] 2nd – Randy Myers, The Mercury News [58] 3rd – Matt Goldberg, Collider [59] 3rd – Jason Rantz, KTTH [60] 3rd – Mara Reinstein, Us Weekly [61] 3rd – Chuck Yarborough, Cleveland Plain Dealer [62] 4th – Lindsey Bahr, Associated Press [63] 4th – Benjamin Lee, The Guardian [64] 4th – Brian Truitt, USA Today [65] 5th – Staff consensus, Consequence of Sound [66] 5th – Bruce Miller, Sioux City Journal [67] 6th – Cary Darling, Houston Chronicle [68] 6th – Peter Travers, Rolling Stone [69] 6th – Ethan Alter, Marcus Errico and Kevin Polowy, Yahoo! Entertainment [70] 6th – Chris Bumbray, JoBlo [71] 6th – Peter Howell, Toronto Star [72] 7th – David Crow, Den of Geek [73] 7th – Tom Gliatto, People [74] 8th – Todd McCarthy, The Hollywood Reporter [75] 8th – Jeffrey M. Anderson, San Francisco Examiner [76] 8th – Anita Katz, San Francisco Examiner [76] 8th – Col Needham, IMDb [77] 9th – Richard Whittaker, The Austin Chronicle [78] 9th – Dann Gire, Chicago Daily Herald [79] 9th – Mike Scott, New Orleans Times-Picayune [80] 10th – Max Weiss, Baltimore Magazine [81] Accolades [ edit] 1917 received ten nominations at the 92nd Academy Awards, winning for Visual Effects, Sound Mixing, and Cinematography. [82] It received three nominations at the 77th Golden Globe Awards and won two awards: for Best Motion Picture – Drama and Best Director. [83] It also received eight nominations at the 25th Critics' Choice Awards, winning three awards, including Best Director, [84] and nine nominations at the 73rd British Academy Film Awards, winning the most awards — seven, including Best Film, Best Director and Outstanding British film. [85] [86] It was chosen by the National Board of Review and the American Film Institute as one of the top ten films of the year. [87] [88] Historical accuracy [ edit] British soldiers following up the Germans near Brie, March 1917 The film was inspired by Operation Alberich, a German withdrawal to new positions on the shorter and more easily defended Hindenburg Line that took place between 9 February and 20 March 1917. [89] However, the main and supporting characters all appear to be fictional. [90] Writing in the New York Times, Cathy Tempelsman argues that the storyline offers a "dangerously misleading" picture of the War, suggesting "a concern for the sanctity of human life from the top down", whereas the reality was "an appalling indifference as the British high command sent hundreds of thousands of their young men to die". She adds that the "false heroics and filmmaking feats of wonder" serve to provide an "escape from the true carnage of the 'Great War'", and that in reality the scale of the casualties was such that the potential loss of 1, 600 men would not have excited the response portrayed in the film. [91] According to military historian Jeremy Banning, "It made no sense, as the film depicts, to have some battalions nine miles beyond the former German line and others seemingly unaware of whether this line was manned.... As for the assault by the Devons, no unit would attack without adequate artillery support". [92] The number of black soldiers serving in the British Army (rather than colonial regiments) during the World War I is unknown but is likely to have been negligible. The Devonshire Regiment was never brigaded with any West Indian or African units (it spent the war in 8th Division). Over 15, 000 men from the Caribbean enlisted, including black Caribbeans living in Britain, and by 1915 it was decided to group them together into a single regiment, named the British West Indies Regiment. [93] [94] [95] Indian Sikhs would have served in their own regiments as part of the British Indian Army, not as individuals in the ranks of British regiments and Corps. By 1917 the Indian infantry had been withdrawn from the Western Front and sent to the Middle East; the Indian cavalry remained. [93] [96] See also [ edit] Real time Dunkirk All Quiet on the Western Front List of World War I films References [ edit] ^ "1917". British Board of Film Classification. 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這是亞伯拉罕的電影.

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