Fathom Events | Release Date: December 17, 2018 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
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Critic Reviews
But it would be a mistake to leave the impression that the rewards of They Shall Not Grow Old are in any way akin to that of the usual BBC historical documentary. There is some overlap, to be sure, but by and large this Peter Jackson film does not offer a historical encounter, so much as an encounter of humanity, a psychic linking of hands across time.
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No doubt, there's a certain theme-park appeal to this use of technology to reconstruct a facsimile of the past, but it's shockingly immediate, seeing those old monochrome images of anonymous men in mushroom-cap helmets turned into images of pink-cheeked youth staring back at us through the camera lens.
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World War I was a new kind of war, because of its use of planes, tanks, and artillery for the first time. Add in the impossible conditions of trench warfare, where men lived in their own filth and alongside piles of decomposing dead comrades—all brought to you in glorious 3D. Even more haunting is the fact that this is real.
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if They Shall Not Grow Old is head-spinning for its jolting animation of creakily shot battle scenes — tricked out with ingeniously integrated sound editing and seamlessly retimed from 13 frames a second to 24 — its greatest revelation isn’t one of sound and fury. Rather, it’s the film’s faces that stick longest in the mind.
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Jackson’s film is more than a technical tribute: it’s a testament to the bravery and camaraderie of the soldiers, the memory of which has faded like the photographs he brings back to life. In a way, it helps arrest the fear that we are forgetting this futile obliteration of an entire generation.
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The PlaylistDec 18, 2018
It makes a deeply human experience, and one that’s frequently both educational (the film’s main purpose: a copy will be given to every school in Britain) and moving. In fact, it’s not so much individual faces or interviews that leave the most lasting impression so much as it’s the cumulative impact of all the faces.
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