Early on in Dunkirk, a boy in his late teens asks; “Mr Dawson, where are we going?”  The straightforward reply“Into war, George” puts everyone on notice that we are about to enter into a highly visceral and intimate cinematic experience. And let’s get this out now – director Christopher Nolan’s depiction of this historic effort to rescue nearly 400,000 British, French, Belgium and Canadian troops in the face of an advancing German Army in the early days of World War II is the work of pure genius. It may not be the greatest war movie ever made but it is perhaps the most unique and inventive account of war ever presented in our time.

Fans of Nolan know that he likes testing the limits of the cinematic narrative.  Films like Memento, Inception and even elements of his Batman Man Dark Knight Trilogy require an investment on the movie-goer’s part as this director, whose work at times is referred to as scientific, takes you on a journey through his mind’s eye. Dunkirk is no exception.

Told in three parallel panels – the Air, the Mole (Land) and the Sea – Mr. Nolan employs a non linear narrative to tell the story of the greatest wartime rescue ever. For those of us who didn’t go to film school that means the story unfolds from different points of view in a non-traditional timeline.  You’ll see the same scene from different perspectives, each important to the overall narrative but only how and when the point of view character sees them.  So munch that popcorn slowly because you won’t be getting up for any refills.  But here’s the good news, Nolan presents this story in 106 minutes and what he captures in that relatively brief window is nothing short of remarkable.

The POV duties for each principal aspect of the film are placed in the hands of three very capable actors; Tom Hardy, Mark Rylance and Fionn Whitehead. And while this is a big movie, Nolan makes a bold choice – he effectively places each man in a relatively confined space. It creates a tautness to the film that works incredibly well and pays off throughout the story.

For Hardy, who could read a shopping list from Amazon and be entertaining, it’s from the cockpit of a Supermarine Spitfire. Shrouded in flight helmet, scarf and oxygen mask for much of the film, his depiction of the RAF pilot Farrier seems incredibly real. It’s a risk for an A list actor to take on a role with such a narrow visual but Hardy hits a homerun. His ability to communicate using his eyes, facial muscles and the tonality of his radio calls is pure movie star.

Fionn Whitehead a Hollywood newcomer is Tommy who we first find running for his life through the narrow streets of Dunkirk. It’s through Tommy’s eyes that we get our initial glimpse of the shore and as his field of vision broadens we see the vastness of the beachfront. Through Tommy we begin to appreciate the countless numbers of men lined up for what appears to be a hopeless rescue. Later in the film he seeks refuge in the hull of a beached fishing trawler. Along with others he waits for the tide to carry the vessel to sea and as they wait each moment is more suspenseful than the last.

For the Sea, Nolan counts on the world class Rylance.  His Mr. Dawson pilots the Moonstone representing the 700 or so private vessels and British citizens that left Ramsgate, England for the beaches of Dunkirk to save their fellow countrymen. Along with his son Peter and Peter’s friend George, they make the dangerous trip across the English Channel. Utilizing Mr. Rylance’s character alone to represent the vastness of the citizen rescue effort was a risk. But as the saying goes, risk equals reward and Mark Rylance rewards the viewer with a fine performance, filmed almost entirely from the pilot wheel of the motor yacht.  As with the other two perspectives, it’s less about the dialogue and more about the situation and the expressive nature of the actors that makes this work as one by one they save the lives of stranded soldiers and airmen.

How do we keep track of these three as they fly, sail and run around Dunkirk? Who brings this all together for us?  Well that would be Kenneth Branagh as Commander Bolton who one might say has a minor role. But there’s nothing minor about Branagh’s purpose in the film. Start to finish we find him on the dock of ‘the Mole’ which is the only deep water spot that can handle a vessel with a draft greater than three feet. It’s Branagh who, as he directs the wounded and the weary, explains that and so much more to us. And while Hardy, Rylance and Whitehead are doing a spectacular job on the inside looking out, its Mr. Branagh’s Commander Bolton who takes all the action in as the ‘viewer’- he witnesses Dunkirk. No small feat for an actor who gets limited screen time and few lines but the accomplished Branagh is superb and does an admirable job of being the glue that holds this story together.

Far from a character study, Dunkirk focuses all of its energy on a particular point in time. We learn little about these individual soldiers and sailors beyond their mission and from my ‘point of view’ that’s just fine.  Because the Miracle of Dunkirk represents more than any one character could possibly portray and in that respect the British-American Nolan has captured it perfectly.  For in creating this film he not only pays homage to his craft but also to a far greater and enduring constituency – those who vowed to never surrender.

In the late spring of 1968 on a warm Saturday afternoon, I walked up Staten Island’s Tysens Lane to the corner of Hylan Boulevard with a friend from elementary school.  Crossing Hylan we headed to the shopping center that was anchored by the Fox Plaza Theatre. In black plastic letters the theater’s marque announced the current feature; Planet of The Apes- Charlton Heston and Roddy McDowall.

Once inside we got our popcorn, had our tickets torn in half and took our seats. We watched in awe as the special effects depicted an advanced civilization of simians. Roddy McDowall and Kim Hunter wore ape costumes, Charlton Heston wore a loincloth.  By the time we got to the bottom of the tub of popcorn Charlton Heston was pounding his fist on the beach yelling, “You maniacs…..!!!!”  We looked at each other with surprised expressions that only grammar school kids can muster and we muttered typically juvenile foul words to describe our reaction to the film’s ending – as only kids who are about to become teenagers can.

Nearly 50 years later and I’m back watching Apes movies.  I’m miles away from Hylan Boulevard, my ticket’s on my phone and I pay 6 dollars for the smallest bag of popcorn possible which I finish before the end of the title sequence – do I have to remind you how long the previews are these days? Yes a lot has changed but not the feeling you get when you see a good movie and War for the Planet of the Apes is a really good movie.

There’s a number of reasons why: It is shot in spectacular fashion reminiscent of past day epics the likes of which compare to The Bridge on The River Kwai, Lawrence of Arabia and The Ten Commandments. The use of performance capture technology is stunning, you’ll be hard pressed to think that Andy Serkis is anything less than Caesar in the flesh.  The film is extremely well scored; soaringly beautiful and hauntingly ominous at all the right times. And finally, while the film’s action sequences rival those of other blockbusters, ‘War’ incorporates an element of humanity rarely seen in films of this genre.

There are outstanding performances from just about every member of the cast. Fans of Andy Serkis will know him from Lord of the Rings as the memorable Gollum.  Widely regarded as the preeminent performance capture artist in the business Serkis’ expression and tonality are superb. Alone, it’s enough to narrate the plight of the apes who are banished to Muir Woods and merely seek a better life.  Serkis as Caesar leads a small group of apes as they search Northern California for the evil Colonel who commands the last of the remaining human soldiers attempting to wipe out the apes.

Steve Zahn who Rotten Tomatoes says “has made an art form out of portraying dysfunctional losers and likeable freaks” is Bad Ape – so named because he was raised in captivity and constantly reminded that he was ‘bad’.  He brings a much needed levity to an otherwise deep and at times profound story.

Karin Konoval, Terry Notary and Toby Kebbell round out the cast of apes that join Caesar on the quest and each brings an important dimension to the film.  Konoval is particularly memorable as the kind hearted Maurice. There is not much spoken dialogue among the apes but what is there is priceless.

Woody Harrelson as the Brandoesque Colonel is over the top and a far cry from his days behind the bar at Cheers.  His performance is chilling and he is the catalyst for a relentless form of divisiveness that in a way exposes the underbelly of this film – the lack of humanity in humanity.  Harrelson is at his best when he is one on one with Serkis’ Caesar.  His attempt to articulate his misguided rationale for destroying the apes is perhaps the highlight of his performance.

What makes War for The Planet of The Apes such a good film is that it can be enjoyed on so many different levels. Yes, it’s visually magnificencent, well acted and provides seat of pants excitement.  Yet beyond that it’s also a profoundly told cautionary tale.  For as the Moses-like Caesar strives, amidst the chaos of a divided world, to lead his people to a better life you might just agree that the central message of this story is something for all humanity to heed – the eternal value of mercy.  And that my friends is as relevant today as it was in 1968.

Spider-Man Homecoming represents the third time in 15 years that this comic book hero has been re-booted for the movies.  Directors Sam Raimi and Marc Webb got plenty of mileage out of the academically brilliant but awkward teenager turned superhero with Tobey Maguire and Andrew Garfield respectively.  Now the 36 year old Jon Watts, with a resume that lists Cop Car and Clown as his noteworthy efforts, takes aim at this successful franchise.  He brings a fresh take to the story that’s filled with action and excitement.  Is the third time the charm?  Is a tub of buttered popcorn hard to resist?

Spider-Man Homecoming features 21 year old Tom Holland, of West End Billy Elliot fame, as the socially inept high schooler Peter Parker. Now movie goer beware, Watts provides no narrative exposition of how Peter Parker became Spider-Man –  there’s an assumption that everyone knows he was bitten by a radio active spider and that you have already seen the 2012 version of The Avengers which culminates in ‘the Battle of New York’ because that’s where the movie picks up.

These stories always seem to incorporate a solid citizen who turns villainous due to a random injustice.  This time is no exception as Michael Keaton portrays the hard working contractor Adrian Toomes who, in the film’s cold open, while cleaning up alien rubble is summarily dismissed due to government red tape.  But with the help of a few bobbles of alien ‘glow in the dark stones’ (remember to catchup on The Avengers) and a few devious pals, Toomes becomes the Vulture and voila! – We have our good versus evil story.  I enjoyed Keaton in this role, he’s a good comic book foil – deviously entertaining and filled with expressive wit and a dash of darkness.

Right on the heels of Keaton, Robert Downey Jr appears and shifts his Tony Stark/Iron Man character into high gear. He keeps the revs up in limited but memorable scenes.  Since rebooting himself in 2008 as Iron Man, Downey 2.0 continues to demonstrate that he is marvelously adroit at delivering spot on performances.  Visually and verbally his portrayal of the over the top Iron Man’s alter ego Stark is wildly entertaining and better than the likes of any Clark Kent or Bruce Wayne that’s ever hit the screen.

But let’s get back to Tom Holland because he’s refreshingly vibrant and brings a welcome change to the Parker/Spidey role. While Maguire and Garfield both incorporated a bit of brooding edge to their characters, this time under Watts’ direction young Holland will have nothing of that.

This is a Spider-Man filled with youthful exuberance, unboundless energy and a naïveté that throws caution to the wind. And while the story may lack a foundational background upon which to build this character, it clearly makes up for it as Peter Parker learns how to go from high schooler to super hero. Tom Holland does an admirable job, bringing a well choreographed physicality to the role, surely a byproduct of his London days as Billy Elliot.

Typical of summer blockbusters, there’s a cavalcade of actors in supporting roles. All of the new faces play fellow high schoolers providing context for Peter Parker’s trials and tribulations. I can’t say any of the performances standout and it remains to be seen if one or more of them will emerge as stars in their own right as they leverage the success of this film.

Better known faces are there too including; Tyne Daly, Donald Glover, Jon Favreau (reprising his Iron Man right hand man duties) and Marisa Tomei as Aunt May – yes she’s old enough to be somebody’s aunt. There’s even a Gwyneth Paltrow cameo to keep the Pepper Potts/Tony Stark romance alive. All of them are up to the job albeit Ms. Tomei would have done even better in a larger role.

Yep, Spider-Man Homecoming delivers – its good clean action filled fun and most importantly it’s fresh. So get your phone out, click that movie app and buy yourself a couple of tickets.  And hey…save a little of that bucket of buttered popcorn for me, I might just show up to see it a second time.

Any viewer of Edgar Wright’s Baby Driver will immediately be struck by its energy, creativeness and soundtrack – it never lets up.  If you can – think La La Land meets Pulp Fiction.  Highly stylized from both a visual and musical standpoint the film is captivating.  The creative use of music breaks new ground for a film with this much action and like me, you may be convinced this is a thrill ride for the ages.  But Baby Driver ultimately runs wild and as it speeds into its third act it becomes a victim of its own excesses.  It’s kinda like a velociraptor in Jurassic Park – beautiful and a marvel to watch until it escapes from its cage and starts to devour everything in sight.  Jurassic Park though is science fiction, heist movies are supposed to be grounded in a semblance of reality.  So when Baby Driver goes off the chain you might just be left wondering… where is Edgar Wright going and why?

Ansel Elgort is adequately cast as the young but talented wheel man who goes by the name of Baby, a pseudonym for his real name which is Miles, another pseudonym (albeit a lame one) because, you know…he drives cars – ok, I digress.  But with limited and not particularly memorable dialogue Elgort seems to be more of a visual prop for the film than its central character.  And while this role may not serve as a resume builder for the actor’s bid for the next Henry VIII – it does work in the overall style and theme of the film.   Constantly adorned in Ray Bans and ear buds, the cool as a cucumber Elgort’s every step and lip synch is expertly choreographed as the music blares through his head and onto the screen. In effect he becomes the vehicle for this marvelously diverse and creative soundtrack that makes the film so watchable.  And for all intents and purposes it’s the music that becomes the main character, keeping time with the action and transforming the movie into something more than just another heist story.  Adding to the excitement, young Ansel’s character can drive the heck out of just about anything with a steering wheel.   The high speed careening through the streets of Atlanta is not only entertaining but technically believable and pays a remarkable homage to the likes of Bullet, Ronin and the French Connection.

Getting back to the script, all is not lost in that department for actors Jamie Foxx, Jon Hamm and Kevin Spacey who play the really bad guys.  Their characters are rich in clever dialogue and their performances are rewarding across the board as each actor executes up to his veteran status.   Foxx and Hamm are particularly good as the unpredictable and at times psychotic heist men who will stop at nothing once the clock starts ticking.  Spacey on the other hand plays Doc, the thoughtful but equally merciless mastermind planner who sees all the angles ahead of time while leaving the stick’em up part to everyone else.  He pulls all the right strings in his performance but unlike Foxx and Hamm, it’s a cadence and rhythm we’ve seen before in his other bad guy roles.  There are supporting roles for Lily James and Eiza Gonzalez as love interests for Elgort and Hamm respectively but sadly neither character is developed enough to give either woman a chance to demonstrate her skill.  And in a twist you can see coming from a mile away Kevin Spacey’s bad guy turns out to be not so bad after all.

It’s at this point in the film (when Spacey turns out to be the bad guy with a heart) that everything starts to go off the tracks.  The level of violence increases by an order of magnitude that almost makes it unwatchable and unbelievable.  An otherwise incredibly suspenseful diner scene is needlessly marred by violence and gunfire that doesn’t support the narrative.  To make matters worse, there’s a stretch where Jon Hamm is transformed into an unbecoming version of the Eveready Bunny who just won’t die.  It’s a waste of all the hard work he puts into the character and leaves him to deal with a less than flattering Terminator style demise.  Director Edgar Wright makes no secret of the fact that he draws much inspiration from Quentin Tarantino and for the most part during the heart of the story it pays off.  Yet one is left to wonder whether at one point or another Tarantino himself would have yelled – Cut.

It’s no surprise that Baby, who had a rough childhood, is a victim in all of this and in an effort to bring the story back to center, Wright attempts to put a bow on the film with a brief but well stylized denouement.  It’s an admirable effort and left me feeling somewhat better.  But I was still a bit unsatisfied because when all is said and done Baby Driver is a good film that could have been great if its director had exercised a little restraint.  Perhaps Mr. Wright should have taken a cautionary lesson from Jurassic Park –  cleaning up a mess is hard, sometimes it’s just easier to keep an eye on the cage.