For those who have seen the film, this is a good place to chat about it. Your memories will be better than mine as I saw it back in mid-November.

I loved when Blake died. I was stunned and did not see that coming at all. I thought one of them might die, and Blake was the obvious choice -- forcing Schofield to decide whether to continue to risk his life on a mission where he did not have a brother who needed saving -- but I expected it to come later. The death at the hands of the wounded pilot was especially poignant, because it shows Blake's humanity... which is what cost him his life. What a brutal storytelling decision.

Speaking of storytelling, the way everything came back to have meaning was both a little bit cliched and also a lot bit awesome. When Schofield gives the milk to the young woman with the baby, I almost fell out of my chair. What a magical moment.

I adored the "stunt" casting of all the commanders. I was certain Cumberbatch would ignore the warning and want his troops to attack anyway after the warning from Mark Strong. I enjoyed the hopelessness and frustration of Andrew Scott's (Fleabag) Lieutenant toward the beginning of the film. Richard Madden and Colin Firth... it was just so much fun to watch these pros emote for a few scenes and then go away.

Speaking of acting, was George MacKay off the charts good or what? His scenes at the farmhouse, with the French girl, and in the water were amazing. I am sorta regretting not considering him more for Best Actor.

Lastly, which was your favorite piece of cinematography? Here are the nominees:
  • The movement through the foxholes as Schofield and Blake go from Colin Firth to Andrew Scott
  • The way the camera moved around the farmhouse setting and the plane crash
  • The "nighttime in hell" chase scenes in the burning French city
  • Schofield in the water and the waterfall (including the floating bodies)
  • Schoield running along the lines as the 2nd battalion begins their charge

I mean, there are probably three or four other sequences that could be in the list. In a career that is full of stunningly well-crafted films, cinematographer Roger Deakins outdid himself in this movie. I kid you not when I say it may be the most beautifully shot war film ever. My pick is probably the nighttime burning hell, which was the scene where I leaned over to a critic friend and said, "I'm done. This movie is too good for words."

-Jason "that's enough for now... I thought this was a great story even without the breathtaking camerawork... some folks think the single shot effect is a stunt, but I say it enhanced our sense of being in the film" Evans