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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.

    ---

    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

    Comedy all-stars Jack Black and Paul Rudd can't save Anaconda sequel

    Alex Bentley
    Dec 26, 2025 | 1:01 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

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    Anaconda is now playing in theaters.

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