Feature-length drama about the mystery of Sandringham Company, which disappeared in action at Gallipoli in 1915. Commanded by Captain Frank Beck, their estate manager, the men advanced into... See full summary »
A troubled veteran of World War I named Joe Delaney struggles to write a history of the Marine company in which he served. In the nightmare of war, each man is defined by a singular moment ... See full summary »
Following the lives of a dozen Australian soldiers who served in the Australia and New Zealand Army Corps (ANZAC) during World War I which follows them from the 1915 battle of Galipoli, to ... See full summary »
The extraordinary true story of Oliver Woodward. It's 1916 and Woodward must tear himself from his new young love to go to the mud and carnage of the Western Front. Deep beneath the German lines. Woodward and his secret platoon of Australian tunnelers fight to defend a leaking, labyrinthine tunnel system packed with enough high explosives to change the course of the War. Written by
A camouflet is an artificial cavern created by an explosion. If the explosion reaches the surface then it is called a crater. See more »
In the attack on the Red House, Morris is holding and aiming his Lee-Enfield rifle left-handed. Soldiers during WWI and subsequently were always trained to fire the Lee-Enfield right-handed as the bolt is on the right, which is difficult to operate when firing left-handed. See more »
Most believable war movie I've seen in a long time.
First of all, I'd like to address the large number of reviews that mention Americans haven't seen/wouldn't't be interested in this film. There seems to be an assumption that Americans aren't interested in war films that don't feature Americans. Not sure where this is coming from, but I've never found that to be the case. Americans who like war movies, like war movies. Almost everyone I know has seen 'Gallipoli', 'The Odd Angry Shot', 'Merry Christmas, Mr. Lawrence', 'Mad Max' (OK, not a real 'war' movie, but just sayin'), in addition to many of the great British and German-made films. The issue isn't with interest, it's with distribution. If studios and theater owners don't think they'll make a zillion dollars by showing a movie, we don't get to see it unless it turns up on cable or Netflix. OK, I'll step off my tree-stump now and review this fine movie.
WW1 certainly does not get the film-making attention it should, so to find one that's this excellent makes up for this a little bit. I was drawn in and kept there by the fine acting, attention to detail, and fluidity of story telling. In any war flick, I'm always waiting for that cheesy moment that breaks the rhythm and steals the credibility of the scene. Usually a 'why we fight' type of speech that you know never would have happened; soldiers fight to keep themselves and their buddies alive, and don't need any other reason. That type of dialog is obvious, useless, and clearly just there for the audience, and not for the benefit of the characters or story. None of that puffiness or foolishness here. Also, it wasn't one of those war films that was made just so someone could put it one their resume', or show off their special-effects prowess. It is first and foremost a great story about real characters and events. I got the feeling that everyone involved in making this film truly cared for what these men went through and brought their best effort as a way to honor that. As much as I like movies about the well-know people, places and events that took place in war, movies that give this much attention to the lesser-known stories can be a much more fulfilling experience. If done right, these types of movies can make the events much more personal and bring you uncomfortably close to the realities of war, which is what war movies should be doing. 'Beneath Hill 60' does this in spades, and this American appreciated every minute of it.
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