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Movie Review

Netflix's Operation Mincemeat keeps the World War II genre alive

Alex Bentley
May 10, 2022 | 2:30 pm
Netflix's Operation Mincemeat keeps the World War II genre alive
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If there’s one genre of movies that seems like it will never die, it’s World War II. Even more than 80 years past the start of that generation-defining war, filmmakers continue to be fascinated by its wide variety of stories. The latest to try its hand at enticing moviegoers is the British film Operation Mincemeat.

Unlike many other WWII films, this one takes place mostly behind the scenes instead of on the battlefield. British Naval intelligence officer Ewen Montagu (Colin Firth) leads a team that’s been charged with coming up with a plan to deceive the Nazis into thinking the Allies will invade Greece instead of Sicily. Joined by fellow intelligence officer Charles Cholmondeley (Matthew Macfayden), MI5 clerk Jean Leslie (Kelly Macdonald), and Lieutenant Commander Ian Fleming (Johnny Flynn), among others, the group comes up with an audacious idea of dressing up a corpse in a military uniform, putting fake papers inside the uniform, and literally floating him into German hands.

Not everyone is on board with the scheme, most notably Admiral John Godfrey (Jason Isaacs), who’s keen to put the kibosh on it from the get-go. Also threatening to upend the preparations is an unexpected romantic triangle between Montagu, whose wife and children are safe in the United States; Cholmondley, a lonely bachelor who lives with his mother; and Leslie, who allows herself to fall for Montagu knowing full well that he is spoken for.

Directed by John Madden and written by Michelle Ashford, the film plays out as part military, part spy, and part morality story. The group understands that their plan has to be foolproof, and so they brainstorm the fake soldier’s life down to the most minute details. The scenes of them figuring out this part of the assignment serve two purposes: To show how much went into making the plan work, and to show how close the various members of the group are becoming.

It’s unusual for this kind of film to spend as much time on romantic entanglements as this one does, but things become a bit clearer when you realize that the person popping up occasionally with narration is the character of Fleming, who would go on to a successful career as the writer of spy novels featuring one James Bond. While the triangle depicted is much more chaste and down-to-earth than anything that Bond would be involved with, you can see the filmmakers tipping their hat to the stories Fleming wrote.

Still, the film does drag a bit at times due to the sheer amount of talking in it. The story the filmmakers are telling naturally contains little action, and so it’s replaced with exposition explaining the action that will take place in the future instead of showing it. A lot of it works, but there are times that they get a little too bogged down in the details.

Firth has been one of the go-to actors for upstanding and proper English characters for quite some time, and he proves here yet again why that’s the case. His earnestness and almost literal stiff upper lip make him a natural for roles like this. Macfayden is his equal acting wise, but at least he gets to play with more emotional nuance. Macdonald, as she often has been in her career, is the heart of the film, giving her character a quiet strength that elevates both her part and the story as a whole.

Operation Mincemeat is one of those World War II stories that’s notable for its daring, although the thrill of trying to pull it off doesn’t always come through on screen. It’s a serviceable film with some solid acting, but it won’t be added to the pantheon of great WWII movies.

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Operation Mincemeat will debut on Netflix on May 11.

Colin Firth and Matthew Macfayden in Operation Mincemeat.

Colin Firth and Matthew Macfayden in Operation Mincemeat
Photo by Giles Keyte/courtesy See-Saw Films and Netflix
Colin Firth and Matthew Macfayden in Operation Mincemeat.
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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