Entertainment
Movie Review: ‘Ministry of Ungentlemanly Warfare’ amps up a true-tale WWII heist
Published
8 months agoon
By
FNN NEWSThe latest Guy Ritchie flick “The Ministry of Ungentlemanly Warfare” has a spine of true story to it, even if it does all it can to amplify a long-declassified World War II tale with enough dead Nazis to make “Inglourious Basterds” blush.
The result is a jauntily entertaining film but also an awkward fusion. Ritchie’s film, which opens in theaters Friday, takes the increasingly prolific director’s fondness for swaggering, exploitation-style ultraviolence and applies it to a real-life stealth mission that would have been thrilling enough if it had been told with a little historical accuracy.
In 2016, documents were declassified that detailed Operation Postmaster, during which a small group of British special operatives sailed to the West African island of Fernando Po, then a Spanish colony, in the Gulf of Guinea. Spain was then neutral in the war, which made the Churchill-approved gambit audacious. In January 1942, they snuck into the port and sailed off with several ships — including the Italian merchant vessel Duchessa d’Aosta — that were potentially being used in Atlantic warfare.
Sounds like a pretty good movie, right? The story even features James Bond author Ian Fleming, giving it more than enough grist for a WWII whopper. “Operation Postmaster” makes for a better title, too, than the ungainly “The Ministry of Ungentlemanly Warfare.” Ritchie, however, already has an operation — last year’s “Operation Fortune: Ruse de Guerre” — in his filmography.
Ritchie, who turned Sherlock Holmes into a bulked-up action star, has always preferred to beef up his movies. It’s a less-noted side effect of the superhero era that regular ol’ heroes have been supersized, too, as if human-sized endeavors aren’t quite enough anymore. And “The Ministry of Ungentlemanly Warfare,” in which a handful of operatives kill approximately a thousand Nazis, has a fine, brawny duo in Henry Cavill and Alan Ritchson.
In the movie’s opening scene, they’re relaxing on a small ship in the Atlantic when Germans rush aboard. After a few laughs and a Nazi monologue that plays like a poor man’s version of Christoph Waltz’s masterful oration in “Inglourious Basterds,” the duo makes quick mincemeat of them, leaving blood splattered across the henley shirt of Anders Lassen (Ritchson, a charming standout).
Not much has changed in Ritchie-land, though he’s swapped tweed for skintight tees and cable-knit sweaters in a rollicking high-seas adventure. As in the director’s previous movies, everyone — and, as before, nearly all male — seems to be having a good time. Likewise, Ritchie revels in his characters’ debonair nonchalance while meting out all manner of savagery.
The assembled group of operatives are said to be delinquents and misfits, though they steadfastly adhere to the polite manners of past Ritchie protagonists. They may kill with bloodthirsty impunity but what really matters is upholding an old-school sense of style. When the undercover agents Marjorie Stewart (Eiza González, who silkily cuts like a knife through the film) and Mr. Heron (Babs Olusanmokun, excellent) ride a Nazi-controlled train on their way to Fernando Po, they look in disgust at the German sausages they’re served. Later, someone will say, “I hate Nazis not because they’re Nazis but because they’re so gauche.”
And in proficiently staged set pieces, Ritchie makes his own case for a bit of class. As a journeyman filmmaker now pumping out a movie a year, he’s in many ways grown to be a more complete director. He’s adept at giving the many members of his large ensemble moments to shine — including Henry Golding, Alex Pettyfer, Cary Elwes, Freddie Fox as Fleming, Til Schweiger as a barbaric Nazi and Rory Kinnear as Churchill.
And once the film — based on the nonfiction book by Damien Lewis — settles into a seedy, sunny West African setting and the nighttime heist finale, “The Ministry of Ungentlemanly Warfare” proves a spirited, if grossly exaggerated diversion.
“The Ministry of Ungentlemanly Warfare,” a Lionsgate release, is rated R by the Motion Picture Association for strong violence throughout and some language. Running time: 92 minutes. Two and a half stars out of four.
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Celia Cruz en Vivo – 100 Años de Azúcar Album, a Tribute to the Queen of Salsa, Takes Home 2024 Latin GRAMMY® Award
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2 days agoon
December 2, 2024By
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Entertainment
Universal Orlando Reveals Sneak Peek of Epic Universe’s “Harry Potter and the Battle at the Ministry”
Published
4 days agoon
November 30, 2024By
Willie DavidORLANDO, Fla. (FNN ENTERTAINMENT) – Universal Orlando Resort has offered fans a magical glimpse into its newest attraction, “Harry Potter and the Battle at the Ministry,” set to open on May 22, 2025, in the highly anticipated Epic Universe park. The cutting-edge ride will immerse visitors in a breathtaking, life-sized recreation of the British Ministry of Magic, featuring intricate details and thrilling experiences from the beloved Harry Potter films.
Designed as the next groundbreaking chapter in the Wizarding World, the attraction combines innovative ride technology, elaborate storytelling, and enchanting visuals to create an unforgettable adventure. Guests will witness the trial of Dolores Umbridge while navigating through iconic Ministry locations, battling Death Eaters, and encountering magical creatures.
Immersive Highlights and Key Takeaways
- Métro-Floo Corridor
Guests will travel from wizarding Paris into the Ministry of Magic via Métro-Floo, inspired by the Floo Network seen in the films. Upon arrival, they’ll step into the bustling Ministry lobby, which sets the stage for their journey.
- The Ministry Atrium
The Ministry of Magic Atrium welcomes guests with its enormous enchanted weather ceiling, restored Fountain of Magical Brethren, and countless Ministry offices. The setting captures the grandeur and complexity of this pivotal Wizarding World location.
- Dolores Umbridge’s Office
Visitors will explore the meticulously recreated pink, gold-accented office of Dolores Umbridge, encountering Higgledy, her animated house-elf, preparing for the trial. - Magical Ministry Lifts
The revolutionary omnidirectional ride vehicles will transport groups of up to 14 through the Ministry, offering unparalleled motion that simulates lifts moving up, down, sideways, and beyond. - Thrilling Chase
The ride’s storyline takes guests on a heart-pounding chase to capture Umbridge as she tries to flee her trial. Expect encounters with rampaging creatures, Death Eaters, and locations like the Department of Magical Creatures, Time Room, and the vast Magical Archives.
What’s Next: A Fully Realized Wizarding World Experience
“Harry Potter and the Battle at the Ministry” is just one attraction in this third Wizarding World expansion. Guests can look forward to:
- Le Cirque Arcanus, a live show inspired by the Fantastic Beasts films.
- Interactive wand magic and themed dining and retail experiences within the Ministry of Magic.
- Captivating entertainment across the land’s various attractions.
Plan Your Visit
Tickets and Packages
Select multi-day tickets and vacation packages that include Epic Universe access are already available. Fans can book the Wizarding World of Harry Potter Exclusive Vacation Package, featuring:
- 7-night hotel accommodations.
- 5-day theme park access, including one-day entry to Epic Universe.
- Early Park Admission to select attractions.
- Exclusive wizarding perks, such as dining experiences, photo sessions, and unique souvenirs.
Epic Universe and its Wizarding World attractions promise to redefine immersive entertainment when they open next year. For more details and reservations, click here.
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J Willie David, III
Florida National News and FNN News Network
news@FloridaNationalNews.com
Entertainment
Drake Files Lawsuit Against Universal Music Group Over Allegedly Defamatory Kendrick Lamar Lyric
Published
5 days agoon
November 29, 2024Orlando FL (FNN) – In an unexpected twist, Drake has filed a significant lawsuit against Universal Music Group (UMG), alleging that Kendrick Lamar’s lyric in the song “Not Like Us” defames him by falsely accusing him of being a sex offender. The lyric has caused significant controversy among fans and critics, with many speculating that the line is aimed at Drake. His legal team claims that the statement has harmed his reputation, suggesting serious legal and financial consequences for the artist.This legal action follows an earlier petition where Drake accused UMG and Spotify of conspiring to inflate his streaming numbers. The combination of these two actions underscores a broader sense of frustration Drake feels towards the industry’s practices and its impact on his career.
In this lawsuit, Drake argues that the lyric in question is both defamatory and damaging to his brand, tarnishing his public image and potentially affecting his business prospects. He asserts that the false accusation made in the song not only harms his reputation but also creates a broader public misunderstanding of his character, especially given his status as a high-profile public figure.
While diss tracks and competitive lyrics are common in the rap and hip-hop industry, this case pushes the limits of what is considered acceptable. The suit centers on a complex issue: at what point do an artist’s lyrics go from free expression to a legally actionable statement of harm? Drake’s legal team contends that Lamar’s lyric crosses that line, drawing attention to the responsibility of artists—and by extension, record labels—to be mindful of the impact their words can have, especially when those words are as publicly consumed as music.
This lawsuit raises important questions about how the music industry deals with the intersection of freedom of speech and defamation. Historically, there have been few legal precedents in the realm of music for defamation claims arising from lyrics. However, Drake’s case could set a new legal standard by determining the limits of lyrical content and the extent to which public figures are protected from harm through creative works.
Drake’s legal move is not just about defending his reputation but also about shaping the future landscape of how the entertainment industry handles controversial content. If successful, it could pave the way for more scrutiny of lyrics and greater responsibility from record labels in overseeing the content their artists produce. Moreover, it could redefine how legal disputes are settled in the context of artistic expression, providing clearer guidelines for how defamatory statements made in music are treated in the courts.
As this lawsuit unfolds, it will be closely watched by legal professionals, music industry insiders, and fans alike. Its outcome could have broad implications, potentially impacting not only the relationship between artists and record labels but also the balance between free speech and accountability in the entertainment world.
Stay tuned for more developments on this legal drama as it continues to unfold.
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Kareen Kennedy is the Assistant Editor for Florida National News
kareen.kennedy@floridanationalnews.com
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