OSCAR WATCH: 1917

With dozens of films dedicated to the subject, every announcement of a WWI comes with a feeling of "been there, done that." But in the ambitious hands of director Sam Mendes, the "war to end all wars" gets a new perspective. Filmed to convey one single take, "1917" is a mind boggling cinematic achievement. But at what cost?

The premise of "1917" is relatively simple. Two British soldiers are tasked with delivering a message to a distant battalion, in the hopes of calling off an attack after intelligence indicates that a deadly trap has orchestrated by the rival Germans. The rescue mission will thus take them through dangerous enemy territory, with very artillery support. But though it seems impossible, the men are driven by an additional motivation, as a brother is among the endangered battalion they hope to save before it's too late.

As our protagonists proceed on their harrowing journey, "1917" is an impressive showcase of filmmaking techniques. Most obviously, the cinematography amplifies the stakes, giving the illusion of real time action. But while the camerawork is the star, it would be ineffective without exceptional work from the actors, composer, production designer and editor. Indeed, George Mackay and Dean-Charles Chapman are unwavering in their physicality demanding lead roles. The stirring music is deployed judiciously and impactfully. The world-building of the sets are downright incredible, particularly in giving a visceral sense of the omnipresence of death through human and animal carcasses, rodents and flies. And of course, the editor deserves highest praise for making it all feel so seamless and forcing the audience to constantly wonder, "How did they do that?"

It's therefore hard to argue against the film's 10 Oscar nominations, namely Best Picture, Best Director, Best Original Screenplay, Best Sound Editing, Best Sound Mixing, Best Production Design, Best Cinematography, Best Original Score, Best Visual Effects and Best Makeup & Hairstyling. And yet, despite my admiration for the filmmaking, I rarely felt truly emotionally connected to the story and the soldiers' plight. Even in the intentionality sentimental moments, the "obstacle course" style of the storytelling hardly gave room for the film to contemplate the characters' humanity. In the end, I was reminded of Martin Scorcese's criticisms of Marvel movies as theme parks. Despite the technical mastery on display, "1917" lacks the gravitas to be a truly great war film. Those who fought in WWI are often referred to as "The Lost Generation." It's a shame that this tribute to their efforts falls short of making them unforgettable.

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REVIEW: Border

When you think of the word "troll", the first images that come to mind are probably an irritating internet commenter or a hideous creature likely to kill you. Ali Abbasi's latest film "Border", however, presents a more nuanced perspective. This fascinating tale finds the humanity in trolls, exploring their nature with disarming empathy.

"Border" is the story of Tina, a customs border agent for the Swedish authorities. We are introduced to her on the job, where she excels by literally being able to sniff out criminal activity. Despite her expertise, however, she doesn't fully feel like she belongs. Thanks to facial features which resemble something not quite human, she harbors feelings of self-doubt. But one day, she encounters a mysterious man named Vore, whose face is strikingly reminiscent of her own. His confidence immediately draws her in and they slowly become acquainted. And as their relationship develops, Tina begins to question her life and by extension, her sense of self.

With Tina's subsequent self-discovery comes life-changing news. Vore informs her that she is not human, but a troll. And as that revelation opens her eyes to the truth behind her past and present life, "Border" becomes a compelling character study.

Indeed, despite the grotesque character design and fanciful mythology, Abbasi takes a serious approach to the material. In establishing Tina's identity, the narrative presents familiar scenes of domestic life alongside a hard-boiled crime investigation worthy of its own distinct narrative. Furthermore, the film is grounded by Melander and co-star Eero Milonoff, who imbue their roles with naturalism. Despite extensive makeup, their impressively lived-in performances allow us to see their troll characters as beings with relatable needs and wants. There's a loneliness to Tina's quiet demeanour which blossoms into titillated curiosity around Vore's confident swagger. And as they open up to each other, they express their newfound happiness with childlike enthusiasm.

Even as the film delves into some of the more bizarre concepts - with shocking imagery to match - behind troll physiology and behavior, there's an enchanting feeling of rebirth in Tina. On the surface, the film may set up an allegory of racial intolerance and prejudice, but it is more successful as a fable about the power of self-love. Though the crime subplot distractingly shifts the focus away from Tina's personal growth, the film's ultimate lesson is deeply felt. Whether you use your self-love and acceptance for good or evil is what truly separates the monsters and men.

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