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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

    Jodie Foster brings depth and wit to French thriller A Private Life

    Alex Bentley
    Jan 30, 2026 | 9:41 am
    Jodie Foster in A Private Life
    Photo by Georges Lechaptois
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    Jodie Foster has been a member of the Hollywood community for almost 60 years, first as a child actor on TV, and then branching out into movies. She earned an Oscar nomination at the tender age of 14 for her role in Taxi Driver, and she’s gone on to be nominated five times, winning twice. Now, at age 63, she’s showing she’s still capable of surprises by fluently speaking another language in the French film, A Private Life.

    Foster plays Lilian Steiner, a psychiatrist who sees patients out of her Parisian apartment. When she learns of the death of one of her patients, Paula (Virginie Efira), she’s sad but otherwise unaffected until a few suspicious things start happening. This includes the robbery of her apartment, in which a recording of Paula’s last session with Lilian goes missing.

    With the help of her ex-husband, Gabriel (Daniel Auteuil), Lilian becomes an amateur private detective, tracking the movements of Paula’s husband, Simon (Mathieu Amalric), whom she increasingly suspects of murder. At the same time, Lilian must navigate a tense relationship with her son, Julien (Vincent Lacoste), along with an unexpected rekindling of romance with Gabriel.

    Written and directed by Rebecca Zlotowski, and co-written by Anne Berest, it is a psychological thriller that at times feels like an Inspector Clouseau movie. With little to go on but her own perhaps misguided suspicions, Lilian digs herself deeper into a situation of her own making. And she further clouds her mind by indulging in a tryst with Gabriel, who’s all too eager to help Lilian pursue her criminal theories. While the film is not a comedy, there are elements of humor that pop in to keep the story light.

    Zlotowski plays with the competing tones of the story well, keeping viewers on Lilian’s side even as she indulges in things that might not be the healthiest for her. Lilian’s various eccentricities - an adherence to recording on old-fashioned mini discs instead of fully digital, keeping an emotional distance from her son and grandson - make her a fascinating character whose vacillating motivations keep viewers guessing as to what she’ll do next.

    In a lot of ways, the film is a study of how Lilian needs to try to find ways to heal herself. The possibility of Paula being murdered wakes Lilian up to the idea that she has not been as attentive a doctor as she should be. The sessions with different patients that Zlotowski shows give the impression that there’s a general level of dissatisfaction with her, with one patient outright breaking up with her.

    Foster is no less compelling speaking mostly in French than she is in English language movies. Her fluency is never in doubt, and she fits in seamlessly with the actual French actors in the film. Auteuil is a fun counterpart for Foster, showing an unexpected chemistry with her that keeps their scenes crackling with energy. Amalric, a Wes Anderson favorite, has a relatively small role but still stands out when he gets a chance.

    A Private Life is not the type of thriller that American audiences might be used to, but its slow, methodical storytelling and subtle humor make it an interesting watch from beginning to end. The film is not up for any awards, but Foster’s performance shows she remains a top-tier actor.

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    A Private Life is now playing in select theaters.

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