Chris Nolan’s inherent resolution to bend chronology flips Dunkirk into a trippy memento of this miraculous evacuation. And, ergo, we are privy to this important story from different perspectives, making it original and exceptional.

From the film’s inception, Hans Zimmer’s score allows a sense of urgency to grow within and permeate through the picture. These sounds, like the persistent ticking timepiece throughout, depict decision making under pressure unlike anything we have seen. The surprisingly mild violence, a departure from the typical WWII drama, enables us to more clearly follow the overlapping events as they are presented sequentially. Suspense replaces violence. It is a different theatrical atmosphere.

Each of the three phases of the war introduce vital characters; Tommy (Whitehead) on land, Mr. Dawson (Rylance) at sea and Farrier (Hardy) in the air. Their interwoven stories of novelty, experience and nerve exemplify the many differences among all involved. Mark Rylance’ stoic portrayal of a civilian boat volunteer, instrumental in grasping the mentality of the day, is certainly a highlight.

This film represents marvelous single event storytelling as well as the prestige of the Film Clas elite. Dunkirk sails the high seas with 4.86 napkins out of 5 high on its mast.