Steve McQueen's “Blitz” feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive “Blitz” make it a singular and sporadically moving experience, writes AP Film Writer Jake Coyle in his review.
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It’s an awkwardly condensed tale — the film takes place over one day but feels like a lifetime — that clunkily cuts between George and Rita. “Blitz” feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive “Blitz” make it a singular and sporadically moving experience.
Throughout, “Blitz” toggles between moments of tenderness and violence, a back and forth that McQueen suggests isn’t just part of wartime. Following the trainyard moment, the film slides into a flashback of Rita and George’s otherwise unseen Grenadian immigrant father, Marcus . On their way home from a joyous night dancing at a jazz club, a man intentionally bumps into Marcus. In the ensuing tussle Marcus is arrested, and later, swiftly deported.
There are moments of uplift, or at least temporary relief. One comes when Rita, who works in a munitions factory with a Rosie the Riveter headscarf, sings for a BBC radio program from the factory floor. Once Rita learns that George is lost, there’s an ill-fitting side plot of her feuding with an unsympathetic boss, arguing with those in charge of the evacuation and her attempting to find George with the help of a police officer .
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