Alan Ritchson steals a fun, forgettable movie

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Initially, the plot follows the familiar (if well-worn) playbook of “The Magnificent Seven” and countless other team-up adventures. As German U-boats wreak havoc across the Atlantic Ocean, preventing the United States from entering the war and ensuring a spectacular European surrender to fascism, British Prime Minister Winston Churchill (an almost-recognizable Rory Kinnear, at the burial Following orders) under prosthetics and makeup) a plan codenamed Operation Postmaster is hatched: a ragtag team of agents will slip behind enemy lines and literally blow up the U-boat supply chain. Target? The Casablanca-like port of scum and villainy is located on the Spanish island of Fernando Po, situated neutrally between political lines. It just so happens to be where the Italian ship Duchessa, the U-boat fleet’s main supplier and their main objective, is currently anchored. Obviously, the only people up to the task are formerly imprisoned Major Gus-March, his motley crew of ne’er-do-wells, and two smooth-talking agents on the inside.

It’s fair to say that this story, based on the true story of a renegade team going on the first black-ops mission in modern warfare, may have been tailored to suit the director’s sensibilities. Unfortunately, even an ensemble cast as strong as this, propelled by Ritchson’s equally effortlessly compelling scene-stealing performance, can’t quite make a script work (Ritchie and co-writers Paul Tamasy, Eric Johnson and Arash are credited as Amell who struggles to find a common thread between the trio of disparate stories.

At times, the experience of watching “Ungentlemanly Warfare” feels like moving between three movies in one. The vigorous acts of Cavill’s Gus, Ritchson Anders, Geoffrey Appleyard (Alex Pettyfer), Henry Hayes (Hero Fiennes Tiffin) and Freddy Alvarez (Henry Golding) are by far the most effective of the group. Meanwhile, the curtain cuts between Churchill, Cary Elwes’s Brigadier Gubbins (an obvious inspiration for the “M” in the Bond franchise) and Ian Fleming himself (Freddie Fox, who has the insult of introducing his character as ” The drama going on, Ian Fleming’s in an obvious hate crime against subtlety, becomes so disconnected and fragmented from the main action that one can never really get invested in it. The expanded ‘Casablanca’ homage to Fernando Poe revolves around Babs Olusanmokun’s Rick Blaine stand-in/undercover casino owner Richard Herron and Eiza Gonzalez’s undercover agent Marjorie Stewart raising the suspicions of main villain Heinrich Luhr (Til Schweiger). Rejected. Whose self-referential casting is a bit on the nose) at least provides a certain amount of tension and stakes.

But it also contains some of the film’s most clichés (yes, Ritchie has tipped the hat to those by having a character directly quote “Casablanca”) and — in Gonzalez’s case, whose narrative The work essentially boils down to evoking a Nazi – borderline regressive tropes.

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