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Major historic events often provide solid foundations for epic cinematic storytelling, although the success achieved at this depends greatly on the expertise of the writers and directors who execute these projects. One might readily expect such an outcome from a production chronicling the events surrounding the London Blitz, the German air assault that devastated the city in a series of relentless bombing strikes during World War II. However, when it comes to writer-director Steve McQueen's take on this event, things come up short on multiple fronts. The film follows the saga of nine-year-old George (Elliott Heffernan), a sensitive but remarkably tough and resilient biracial lad who's reluctantly evacuated from London to stay with a rural foster family, one of countless children included in a well-organized plan to keep youngsters safe from the impact of the attacks. He's sent by his single mother, Rita (Saoirse Ronan), a loving munitions factory worker desperate to protect her son. But George is hesitant to leave London without her, and so, while on a train taking him to the English countryside, he leaps from the moving passenger car in an effort to make his way back home. The narrative thus follows his journey to reunite with his mum, who desperately begins searching for him amidst the carnage being wrought from above when she learns of his disappearance. Seemingly, this story should make for a compelling picture, but that's only true part of the time. This overlong, episodic offering strains to keep viewer interest by inserting the protagonists into repeated perilous situations whose primary aim is simply to keep the story moving forward without much in the way of engendering genuine emotional engagement. While this release ambitiously incorporates stories from the Blitz that may not have received much attention previously, as well as poignant incidents related to race relations in the UK at that time (definite feathers in the film's cap), these segments nevertheless detract somewhat from the main larger story going on around them, affecting the picture's overall focus. What's more, this project is further hampered by issues that frequently bog down this filmmaker's work, such as the inclusion of extraneous material (resulting in needless padding), segments whose relevance isn't always readily apparent (especially in transition sequences), a need for judicious film editing and occasionally awkward (and inexplicable) experiments in cinematography. To its credit, "Blitz" is stylistically well made, thanks to its fine period piece production design and impressive special effects, in addition to the capable performances of its ensemble (especially Critics Choice Award nominee Heffernan). But are these assets enough? Not for my taste. Movie fans interested in seeing a better film about the Blitz would be well served by watching director John Boorman's "Hope and Glory" (1987), a more polished effort that earned five Oscar nominations, including best picture. This is not to suggest this release is an awful effort, but it's one that, given its subject matter, definitely could have stood to be much better.

Invariably, there's always one film release each year that's vastly and inexplicably overrated, both in terms of critical acclaim and awards season recognition, and this disappointing, tediously paced slog tops my list of candidates for 2024. Writer-director Payal Kapadia's examination of contemporary working class conditions in Mumbai follows the stories of three women who struggle with getting by financially, vocationally and personally, all of them having relocated to the city from their rural roots in search of illusory, overpromised opportunities. The picture has been widely praised for its gentle treatment of its subject, along with its sensitive and nuanced handling of its principals' lives. To me, however, this is a politely euphemistic way of saying it's boring (I can't recall how many times I checked my watch during the screening I attended). Moreover, this offering tries unsuccessfully to cover too much ground (and not very well at that), including an array of topics ranging from loneliness to fiscal hardship to gentrification to outmoded traditions and more. I also don't find this offering to be especially groundbreaking in terms of its subject matter; its themes of working class struggles and personal isolation, in my estimation, are addressed far more effectively in other Indian films like "The Lunchbox" (2013) and "Fire in the Mountains" (2021), which present more compelling and more engaging treatments of their stories (watch those pictures instead). On top of all this, there are some narrative elements that don't feel sufficiently fleshed out or that are either implausible or woefully executed surrealistically (it's subtlety often makes it hard to tell which is truly the case). Admittedly, the film's aesthetics, such as its cinematography, have much going for them, but they're not nearly enough to make up for the picture's larger and more significant shortcomings. At the risk of being ridiculed, I truly don't believe "All We Imagine as Light" is rightfully worthy of the many accolades it has received from the Golden Globe Awards, the Critics Choice Awards, the Independent Spirit Awards, the National Board of Review, and the Cannes and Chicago Film Festivals, among others. With so many other (and better) international film offerings out there, it's regrettable that these competitions and festivals have squandered nominations and awards on this needlessly hyped undercooked release.

When one achieves greatness at his or her craft, it's difficult to walk away when the skills behind it begin to fade. Moreover, facing the hard truth that one's peak may indeed be irretrievably in the past can be even tougher to accept, no matter how passionate one's desire might be for it. Such was the anguish that befell Maria Callas (1923-1977) (Angelina Jolie), one of the greatest operatic talents of all time, as she approached the end of her successful but stormy life. Having not performed in nearly four years, with her mental and physical health and singing ability failing, she contemplated a comeback but was torn between taking on the rigors of such an arduous task and living the life of personal contentment she always wanted for herself. It was also a time when she reflected upon her professional accomplishments and personal pursuits, aspects of her past filled with triumphant highs and agony-ridden lows, told through poignant flashbacks shot in stunning black and white. And, as portrayed here, in between these opposing aspects of her life, she veers off into imagined scenarios in which she struggles to distinguish reality from suspected hallucination. In telling this story, director Pablo Larraín provides viewers with a thematically interpretive character study of the grand diva's storied life, not a by-the-numbers biographical checklist, much like what the filmmaker did in two of his previous releases, "Jackie" (2016) (about First Lady Jacqueline Kennedy) and "Spencer" (2021) (about Princess Diana Spencer), both of which, when combined with this offering, present a trilogy about the lives of three strong, powerful women who lived extraordinary but turbulent lives. What sets this one apart from its predecessors is the career of its protagonist, whose broad range of operatic performances is beautifully captured in an array of sequences. It also showcases Callas's reputation for being a prima donna but does so without going over the top. In fact, some have criticized the picture for being too subdued in its portrayal of the grand dame. But I personally appreciated the restraint exercised here, an approach that could have easily turned Callas into a caricature. This outcome is largely made possible by the positively stellar Golden Globe and Critics Choice Award-nominated performance of Jolie, who has turned in her best work in years in this offering, a comeback of sorts of her own. Add to this the film's superb production design, gorgeous cinematography and capable supporting cast, and viewers have an opportunity to witness yet another fine work from an underappreciated director who, in my opinion, is one of the best auteurs in the business these days. Admittedly, the film's screenplay could have used some work, especially in the depth of its back story, but I'm willing to forgive that in the face of everything else "Maria" has to offer. That's particularly true in its highly emotive opening and closing sequences, musical montages that are sure to move anyone who doesn't have ice water running through his or her veins. Indeed, pay no heed to the nitpickers when it comes to this one and savor it for what it's worth.