in 71 movie review

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors.

Now streaming on:

“’71” sets its thriller elements against the backdrop of The Troubles, the 30-year Northern Ireland conflict that also inspired films by  Jim Sheridan and Paul Greengrass . Director Yann Demange ’s feature film debut merges Greengrass’ kinetic camerawork with Sheridan’s character-driven drama; the result is a taut, suspenseful and involving feature that runs a tight 99 minutes. At its center is a very good performance by Jack O’Connell. Last seen in “ Starred Up ” and Angelina Jolie ’s “ Unbroken ,” O’Connell continues to bring equal measures of toughness and vulnerability to his characters. Despite his good looks, there’s an everyman’s quality to him, which he uses to full effect in “’71.”

O’Connell plays Gary Hook, a British soldier whose troop has been sent to Belfast to investigate an incident of violence. Prior to his deployment, we silently observe him interacting with his brother and his family. The silence provides an eerie calm before the storm; moments of serenity will be in short supply once Hook begins his mission. Once in Belfast, Hook and another soldier are separated from their retreating company during a chaotic riot. When the other soldier is brutally killed, Hook takes off for parts unknown to him. Pursued by angry Belfast denizens, Hook runs deeper and deeper into enemy territory.

As an action film, “’71” runs the risk of trivializing the horrific events of its setting. Screenwriter Gregory Burke avoids this by occasionally pausing the action to focus on the plight of characters on both sides of the conflict. As the lone man against many, Hook naturally draws our concern, but “’71” widens the net to show how deeply it ensnares friend and foe alike. The film spends as much time on Hook dodging danger as it does on people hatching plans to further agendas and manipulate alliances. There are British spies within Belfast who are loyal to that cause yet able to casually straddle the fence between the two factions. Both sides harbor folks who suddenly turn in traitorous or conspiratorial directions. Hook finds assistance and threat in unexpected places, and a constant stream of overwhelming cynicism flows just beneath the surface, waiting to be tapped whenever things seem too hopeful.

Besides Hook, several other characters emerge as the narrative progresses. Sean (Barry Keogan), one of the teenagers involved in the shooting of Hook’s partner, is shown returning home to a mother who is at first oblivious to his outside activities. Out to prove his manhood to his mates, Sean emerges as something of a tragic yet heroic figure in “’71,” avoiding the pitfalls of being demonized. His last scene with Hook has a stark, conflicted power that’s hard to shake; it goes from an unbearable scene of pleading on Hook’s part, to a cheap (though effective) audience-pleasing cliché, before climaxing in a shocking coda of unfairness.

Another character who leaves an impression is a young boy who brings Hook to one of the area’s safe havens for soldiers. He and Hook have a rapport meant to remind us of Hook’s relationship with his brother. Though the horrific outcome of this temporary respite is never in doubt, “’71” does not make these brief bonding scenes cutesy or overly sentimental. We’re always reminded of the layers of complexity involved in interacting with a wanted man. This is further highlighted in the scenes between the doctor who risks his own life to tend to Hook’s wounds, and the daughter who is unsure if her father should help.

Though it ably handles the dramatic scenes, “’71” is at its best when Hook is on the run. The riot sequence is excellent. Demange’s camerawork is urgent and chaotic, yet the audience is never lost while following the action. The ensuing foot chase is handled with dexterity and a sense of terror, culminating in the film’s best moment for Demange and O’Connell: Momentarily evading his pursuers, O’Connell curls up into a ball of exhaustion and fear. The camera remains fixed on him, and the soundtrack isolates the sound of his heavy breathing just before it breaks into the sobs of the terrified, inexperienced soldier baptized by fire in his first brush with death.

“’71” played in last year’s Toronto International Film Festival and received consideration at this year’s BAFTA awards. While it occasionally dips into formula, it is nevertheless a compelling, edge-of-your-seat thriller that weighs the innocence lost not only by its hero but by those who antagonize him.

Odie Henderson

Odie "Odienator" Henderson has spent over 33 years working in Information Technology. He runs the blogs Big Media Vandalism and Tales of Odienary Madness. Read his answers to our Movie Love Questionnaire  here .

Now playing

Golden Years

Clint worthington.

Apples Never Fall

Cristina escobar.

Sheila O'Malley

Peyton Robinson

Brian Tallerico

The Listener

Matt zoller seitz, film credits.

'71 (2015)

Jack O'Connell as Gary

Paul Anderson as MRF NCO Lewis

Sean Harris as Captain Sandy Browning

Sam Reid as Lt. Armitage

Sam Hazeldine as C.O.

Charlie Murphy as Brigid

David Wilmot as Boyle

Killian Scott as Quinn

• Yann Demange
• Gregory Burke

Director of Photography

• Tat Radcliffe

Latest blog posts

Beyoncé and My Daughter Love Country Music

A Poet of an Actor: Louis Gossett, Jr. (1936-2024)

Why I Love Ebertfest: A Movie Lover's Dream

Adam Wingard Focuses on the Monsters

Advertisement

Supported by

Review: In ‘ ’71,’ Young, Green and Behind Enemy Lines

• Share full article

Anatomy of a Scene | ‘’71’

Yann demange narrates a sequence from the film “‘71.”.

By Manohla Dargis

• Feb. 26, 2015

In “ ’71,” an excitingly jumpy, finely calibrated chase movie about a British soldier caught behind enemy lines, the director Yann Demange goes from zero to 100 in the blink of an eye. The soldier is played by Jack O’Connell, last seen being brutalized (in more ways than one) in “Unbroken,” the Angelina Jolie biopic about Louis Zamperini. That movie proved a bad fit for Mr. O’Connell, who never put down roots in the character, an Olympian turned World War II captive, because Ms. Jolie couldn’t or wouldn’t let him. By contrast, Mr. O’Connell runs away with “ ’71,” in which his character’s every emotional, psychological and physical hurdle makes for kinetic cinema.

I mean run literally. The movie is set against the sectarian violence in Belfast , Northern Ireland, in a year that opened with the tarring and feathering of several men by the Irish Republican Army. By February, a British soldier was dead as were a number of civilians, and several riots had convulsed Belfast. It’s against this backdrop that Mr. O’Connell’s character, Gary Hook, arrives with a regiment of similarly inexperienced soldiers. Smoke pours from burning cars, some strategically bookending streets like barricades. During the day, children play among scattered bricks that they sometimes hurl at the soldiers (when they’re not lobbing bags of feces instead). At night, the mazelike streets belong to the war and the running people, British and Irish, stoking the flames.

Movie Review: ‘’71’

The times critic manohla dargis reviews “’71.”.

When you meet Gary, he’s a wide-eyed recruit on the receiving end of another man’s fists. He doesn’t talk much. The movie, written by the playwright Gregory Burke, favors narrative devices like foreshadowing and doubling over the usual blabbity blab, an approach that dovetails with Mr. Demange’s talent for elegantly deployed action. The blood that pours from Gary’s face bluntly sets the scene but also foreshadows the river of red to come. Similarly, the obstacle course that Gary and his fellow soldiers soon run, leaping and going belly down in the muck, forecasts the more punishing hurdles to come. Meanwhile, a short, elliptical sequence of Gary and his young brother, Darren (Harry Verity), adds some personal detail even as it presages the later appearance of a second boy.

That may sound too schematic, but Mr. Demange moves so effortlessly and rapidly from these introductory interludes that you may not notice all the parts shifting into gear. He knows when to linger in the moment, too, as when Gary watches Darren at a home for children, a place that, you intuit, the older brother knows inch by loveless inch.

You never learn why or how the brothers came to this sterile holding pen. As the story unfolds, though, you wonder if being parentless explains the seriousness of Gary’s gaze and his mournfulness. His immaturity and the military may explain his reserve, but it’s also a good guess that his survival instincts were honed in that home.

Those instincts kick in shortly after Gary and his regiment land in nationalist-controlled Belfast. There, on a broken-down street, they shakily stand at the ready while other British soldiers raid a building, noisily roughing up its inhabitants. As shouts ring out inside, locals begin gathering outside. Before long, the British soldiers are facing off with screaming civilians who soon engulf them. Mr. Demange inserts you right in the midst of this tumult, bringing you cheek to cheek with each side and using the trembling camerawork to create a visual instability that deepens the sense of escalating danger. Within a few minutes, one soldier is dead, his brains splattered across a wall, and Gary is on the run, his unit having inadvertently left him behind in the chaos.

Men and women have been sprinting across screens since Eadweard Muybridge turned his cameras on them in the late 19th century. The silent clowns ran as does Jason Bourne, and, at times, it seems as if the movies were made for ready, set, go, go, go: Buster Keaton bolting in “Seven Chances”; Cary Grant fleeing in “North by Northwest”; Franka Potente racing in “Run Lola Run.” Mr. Demange makes his feature directing debut with “ ’71,” but he already knows how to move bodies through space and the complex choreography that he’s worked out in this movie is a thing of joy. One minute, Gary is ripping down an alley with the camera jostling after him, as if desperate to keep up; the next, he’s careering down a street, the camera now steadily gliding alongside him.

Much of the movie takes place in a single night, which certainly worked for James Joyce in “Ulysses.” Whether or not the filmmakers self-consciously borrowed from that book’s chapter set during one hallucinatory Dublin evening, Gary’s journey into this other night-town is similarly a voyage into the self. In between sprints — he’s soon fleeing a breakaway faction of the I.R.A., led by an eager killer, Quinn (Killian Scott) — he meets several souls who help him out, sometimes a bit too conveniently, including a father and daughter, Eamon (Richard Dormer) and Brigid (Charlie Murphy). What Gary doesn’t know is that the biggest threat may come in the form of an undercover British unit led by a twitchy captain, Browning (a ferocious Sean Harris). The enemy of Gary’s enemy is closing in.

“  ’ 71” is rated R (Under 17 requires accompanying parent and adult guardian). War violence.

Explore More in TV and Movies

Not sure what to watch next we can help..

“X-Men ’97,” a revival on Disney+ that picks up where the ’90s animated series left off, has faced questions after the firing of its showrunner  ahead of the premiere.

“3 Body Problem,” a science fiction epic from the creators of “Game of Thrones,” has arrived on Netflix. We spoke with them about their latest project .

For the past two decades, female presidential candidates on TV have been made in Hillary Clinton’s image. With “The Girls on the Bus,” that’s beginning to change .

“Freaknik,” a new Hulu documentary, delves into the rowdy ’80s and ’90s-era spring festival  that drew hundreds of thousands of Black college students to Atlanta.

If you are overwhelmed by the endless options, don’t despair — we put together the best offerings   on Netflix , Max , Disney+ , Amazon Prime  and Hulu  to make choosing your next binge a little easier.

Sign up for our Watching newsletter  to get recommendations on the best films and TV shows to stream and watch, delivered to your inbox.

• International edition
• Australia edition
• Europe edition

’71 review – Jack O’Connell excels in muscular, moody Troubles thriller

L ess indebted to Jim Sheridan’s In the Name of the Father or Paul Greengrass’s Bloody Sunday than Walter Hill’s The Warriors and John Carpenter’s Assault on Precinct 13 , this tale of a young squaddie lost on the streets of Belfast during the Troubles boasts another mesmerising performance from sinewy rising star Jack O’Connell. Having sunk his teeth into the prison-bound Starred Up (when his vibrant physicality recalled a young Malcolm McDowell), O’Connell displays a winning vulnerability in this muscular, moody thriller which has one foot in the all-too-real turmoils of recent history and another in the dreamscapes of post-apocalyptic cinema. The action may take place in 1970s Northern Ireland, but the bombed-out buildings, barricaded streets and burning buses which provide the ochre background glow evoke the spectre of John Hillcoat’s The Road or even George Miller’s Mad Max – a timeless wasteland of quasi-mythical, purgatorial conflict.

O’Connell plays Private Gary Hook, a punchy Derby lad sent on an “emergency basis” to Belfast, which he is curtly informed is “not abroad”. On the first day of manoeuvres, Hook’s wet-behind-the-ears regiment is deployed on the Falls Road to assist the RUC on a house-to-house search, the ferocity of which soon provokes a riot; bricks are thrown, shots are fired, and chaos ensues in which Hook and a fellow soldier are separated from their comrades. As the army beat a terrified retreat, Hook escapes into unknown streets, caught behind enemy lines, waiting for the cover of night to attempt his escape.

Although the title alludes specifically to the year that internment was reintroduced, Black Watch writer Gregory Burke’s script seems to draw inspiration from the notorious Falls curfew of July 1970, when troops locked down a nationalist stronghold after a house search for weapons turned into a pitched-battle-cum-siege. In the ensuing melee, ructions flared not merely between residents and their putative rulers, but between the Official and newly emergent Provisional IRA. Appropriately, ’71 adopts an apolitical nihilism, depicting rampant internecine rivalry in which everyone is at each other’s throats: nationalists and loyalists; army and RUC; squaddies and Military Reaction Force undercover agents; officials and foot soldiers – on both sides of the divide. In the middle of this mayhem is Hook, randomly aided and/or hunted regardless of his nominal allegiance; asked if he is Protestant or Catholic, he replies pitifully “I don’t know... ”

Born in France and raised in London, feature first-timer Yann Demange (best known for TV’s Top Boy ) admits that his perspective on the Gordian knot of Irish history is that of an outsider, a position the movie staunchly maintains; we see events unfolding through the eyes of a young man who has no idea of the complexity of the conflict into which he has been dropped, nor of the cause for which he is fighting. If the film has an agenda, it is merely to show that these combatants are obscenely young and uniformly disempowered – one ripe line describes army life as “rich cunts telling dumb cunts to kill poor cunts”. Inevitably, there will be cries of exploitation, a charge levelled against Marc Evans’s underrated Resurrection Man , which controversially reinterpreted the loyalist brutalities of the Shankill Butchers as a tale of latterday vampires. There’s something of Evans’s crepuscular milieu in ’ 71 , cinematographer Tat Radcliffe shifting from the vérité 16mm grain of the daytime sequences (the on-foot chases are breathtakingly gritty) to the eerie aura of digital for the creepy nocturnal segments, all foggy street lamps, misty vistas, and brooding darkened alleyways. I was also reminded of the surreal quality of the “Ducky Boys” scenes from Philip Kaufman’s The Wanderers , in which an unsuspecting Bronx youth stumbles into the misty lair of a quasi-mythical Irish gang where nightmarish apparitions lurk.

Holding it all together is David Holmes’s terrific score, chiming guitars and alarum drums hovering over a rubble-bed of sampled sounds and remodulated chords, plaintive melodies emerging from a bedrock of discord and disquiet. Sound design is crucial throughout; one particularly arresting (and historically accurate) scene finds womenfolk banging steel dustbin-lids on pavements as armoured vehicles roll onto their streets, a clattering cacophony which instils a rising tide of anxiety in the incomers and audience alike. Later, as the action moves to the Divis flats (Sheffield’s Park Hill estate doubling for Belfast, along with Blackburn and Liverpool), Demange uses Holmes’s eerie score (to which he listened on set) to generate both growing tension and weirdly uncanny unease.

Strong performances from a well-chosen ensemble cast add to the impact, with particular plaudits going to Sean Harris as a weasely undercover agent with rat-in-the-skull killer instincts, and Sam Reid as a posh-boy commanding officer woefully out of his depths on the working-class streets of what is most definitely “another country” – or perhaps more accurately another world.

• Mark Kermode's film of the week

More on this story

’71, first-time director’s film about the Troubles, wins nine Bifa nominations

Cannes 2014: Catch Me Daddy review - John Ford on the Yorkshire moors

Pride review – power in an unlikely union

Mr Turner review – Mike Leigh shines a brilliant new light on the great master

The Imitation Game review: Knightley and Cumberbatch impress, but historical spoilers lower the tension

Comments (…), most viewed.

clock This article was published more than  9 years ago

“’71” movie review

The early 1970s were bloody in Northern Ireland, with the Troubles building toward a fever pitch of bombings, riots and shootings that sent the death toll skyrocketing. It makes for an explosive backdrop in "  '71 ," director Yann Demange's gripping feature directorial debut about a British soldier who gets left behind by his unit in Belfast following a chaotic riot in 1971.

The plot sounds like the low-hanging fruit of action movies: A hero in peril needs to survive the night. But the complicated history elevates the story above pulp.

Up-and-coming actor Jack O'Connell (" Starred Up ," " Unbroken ") plays Gary Hook, who joined the army after growing up in an orphanage where his younger brother still lives. Shortly after Gary enlists, his unit is shipped to Belfast to subdue an increasingly dangerous situation. If the newbies in Gary's unit are ill-prepared, then their commander, the friendly if nervous Lt. Armitage (Sam Reid), is even more naive. He sends the men into the thick of things without riot gear, hoping a human touch and eye contact will be enough to quell the violence. It isn't.

The city looks apocalyptic with burned-out, still smoldering cars; small children hurling grotesque insults (and worse); and, at the sight of soldiers, people slamming metal trash can lids against the street, creating an unbearable din. What starts as a small crowd quickly swells into an irate horde.

During the first of many harrowing scenes, Gary gets separated from his unit and beaten by a mob. By the time he breaks free, his fellow soldiers have already rolled out, forcing him to scurry through the foreign streets, trying to evade armed nationalists out for British blood.

Unbeknownst to him, Gary’s survival depends not just on his own instincts, but on a complicated web of people, including two factions of the Irish Republican Army, British loyalists and undercover agents. To add to the confusion, each group is double-crossing another.

Meanwhile, Gary continues his odyssey and meets some charitable souls along the way. A young child (whose accent was indecipherable to these American ears) leads the soldier to what seems like safety, while a father and daughter risk their lives to help the young man.

The taut script was penned by Gregory Burke, who wrote the acclaimed play " Black Watch ," about Scottish soldiers in Iraq. The man knows how to build a story: Every early scene has a job that it performs well, to either deepen our understanding of the protagonist or foreshadow what's to come. When a commander pulls down a map of Belfast and tells soldiers that they need to steer clear of a public housing complex known as the Divis Flats, we know that information is going to come in handy later.

The filmmaking is equally efficient. After an explosion, the picture blurs and the only sound is a dull ringing. We feel like we’re there. But be warned: The fact that Demange aims for realism means the violence can be grisly.

“ ’71” succeeds as an action thriller, but with enough complexity to keep the brain engaged. The film is also a reminder of the byproducts of hatred. Seeing children who were taught from a young age to despise is both painful and powerful. The Troubles are over, which should give the viewer a tiny glimmer of hope. With all the difficult images in “ ’71,” though, neither Burke nor Demange seems particularly interested in optimism.

R.  At area theaters. Contains strong violence, disturbing images and language. 99 minutes.

• Skip to main content
• Keyboard shortcuts for audio player

Movie Reviews

In the northern ireland period thriller '71,' no one dies well.

David Edelstein

The film is about an English private who is cut off from his unit in the middle of a riot in Belfast in 1971. It's a conventional and smashingly good chase melodrama, but it's also a tragedy.

DAVE DAVIES, HOST:

This is FRESH AIR. The streets of Northern Ireland in 1971 are the setting for the new film "'71," in which Jack O'Connell, best known for his starring role in "Unbroken," plays an English soldier cut off from his unit in the middle of a riot. Film critic David Edelstein has this review.

DAVID EDELSTEIN, BYLINE: The most powerful thing about the Belfast, Northern Ireland, period thriller "'71" is that no one dies well. In outline, this is a conventional and a smashingly good chase melodrama. But it's also a tragedy, from the first face-off between the British army and a mob of Catholic men, women and children who get in the soldiers' faces and draw first blood, to the heart-stopping climax in a ruined pub. By then, the protagonist Gary Hook, wounded British private, trapped behind what I'll reluctantly call enemy lines - reluctant because it's the Catholics' home turf - is battered in ways from which he'll never recover, even if his body survives.

Private Hook is played by Jack O'Connell, who had a huge, volatile presence in the prison drama "Starred Up," but seemed muted as Louis Zamperini in "Unbroken." The American accent and the way he was shot to be an archetypal, clean-cut Yank neutered his natural temperament. He doesn't have many lines in "'71," and at first he's just another beefy Brit in a beret, but he grows more and more vivid. His terror and helplessness becomes primal and somehow poetic. Gary Hook has arrived in Belfast with no strong politics, no mandate except getting home to his little brother, who lives, for reasons that aren't explained, in a locked facility where Gary was once a resident, too.

(SOUNDBITE OF FILM, "'71")

JACK O'CONNELL: (As Gary Hook) Listen, I don't want you worried about me, OK? I'll be fine. I promise you. Now come on, eat up. I'm not even leaving the country, so you've got nothing to worry about. Got a girlfriend?

HARRY VERITY: (As Darren) No.

O'CONNELL: (As Gary Hook) No? Let me see your teeth - you liar.

EDELSTEIN: Many Northern Ireland-set TV, plays and films haven't been widely seen outside the UK, so I'm not sure how common it is to see the days leading up to the 1972 Bloody Sunday massacre through the eyes of sympathetic English soldiers. Bloody Sunday isn't depicted in "'71," but Belfast is a war zone and near to boiling over. That said, as the English prepare to move into an Irish Catholic stronghold, their aristocratic lieutenant, played by Sam Reid, speaks in ways that could be called liberal.

UNIDENTIFIED ACTOR: (As character) Look lively.

SAM REID: (As Lieutenant Armitage) Are we expecting a riot, Sergeant?

O'CONNELL: (As Gary Hook) I thought that we should be prepared, sir.

REID: (As Lieutenant Armitage) Today's operation should be to assist the IUC in conducting a house search in the Catholic community. I want berets, Sergeant, no riot gear.

O'CONNELL: (As Gary Hook) You sure, sir?

REID: (As Lieutenant Armitage) We need to go out there and reassure people. We're here to protect them. We need to look them in the eye and tell them that.

O'CONNELL: (As Gary Hook) Carry on.

EDELSTEIN: Screenwriter Gregory Burke created a celebrated play called "Black Watch" that told the stories of Scottish soldiers stationed in Iraq. And while "'71" is much more formulaic, Burke shows the same curiosity about the inner dynamics of groups on both sides of a conflict. The Irish Republican Army is Gary's most dangerous adversary. They hunt for him after an especially violent IRA man played by Killian Scott shoots another private in the face. But there's also wanton killing by undercover English officers and loyalists who conspire to blow up Catholic civilians. The entire populace is deformed by hatred, even a tough-talking little boy played by Corey McKinley, who leads Hook to the temporary safety of a loyalist pub. When Gary is badly wounded and taken in by two Catholic good Samaritans, one of them, a young woman, is so terrified of being branded a traitor that she wants to give him up at once.

"'71" is the first theatrical feature by Yan Demange, who uses the handheld camera sparingly but surely and creates an overpowering sense of menace. The movie isn't an original. Gary's odyssey doesn't have the mythic strangeness of Carol Reed's 1947 masterpiece "Odd Man Out" in which a mortally wounded IRA fighter, played by James Mason, moves through a demented underworld. But Demange and Burke use their hero as a way into an entire poisoned ecosystem. When Gary stabs someone who would have surely killed him, he and his enemy stare into each other's eyes as if they know they're the same human being.

DAVIES: David Edelstein is film critic for New York Magazine. On Monday's show, Terry speaks with Jonathan Banks, who played a private eye/fixer in "Breaking Bad." He reprises the role in the prequel "Better Call Saul." She'll also talk with the show's co-creator and writer Peter Gould. Hope you can join us then.

Copyright © 2015 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

• Upcoming Movies and TV shows
• Trivia & Rotten Tomatoes Podcast
• Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

• What's the Tomatometer®?
• Login/signup

Movies in theaters

• Opening this week
• Top box office
• Coming soon to theaters
• Certified fresh movies

Movies at home

• Netflix streaming
• Prime Video
• Most popular streaming movies
• What to Watch New

Certified fresh picks

• Love Lies Bleeding Link to Love Lies Bleeding
• Problemista Link to Problemista
• Late Night with the Devil Link to Late Night with the Devil

New TV Tonight

• Mary & George: Season 1
• Star Trek: Discovery: Season 5
• Sugar: Season 1
• American Horror Story: Season 12
• Parish: Season 1
• Ripley: Season 1
• Loot: Season 2
• Lopez vs Lopez: Season 2
• The Magic Prank Show With Justin Willman: Season 1

Most Popular TV on RT

• 3 Body Problem: Season 1
• A Gentleman in Moscow: Season 1
• We Were the Lucky Ones: Season 1
• Shōgun: Season 1
• The Gentlemen: Season 1
• Palm Royale: Season 1
• X-Men '97: Season 1
• Manhunt: Season 1
• Testament: The Story of Moses: Season 1
• Best TV Shows
• Most Popular TV
• TV & Streaming News

Certified fresh pick

• Steve! (martin) a documentary in 2 pieces Link to Steve! (martin) a documentary in 2 pieces
• All-Time Lists
• Binge Guide
• Comics on TV
• Five Favorite Films
• Video Interviews
• Weekend Box Office
• Weekly Ketchup
• What to Watch

Best Horror Movies of 2024 Ranked – New Scary Movies to Watch

30 Most Popular Movies Right Now: What to Watch In Theaters and Streaming

What to Watch: In Theaters and On Streaming

Awards Tour

Weekend Box Office Results: Godzilla x Kong Scores Monster Debut

The Rotten Tomatoes Channel: Watch on Samsung, Roku, And More

• Trending on RT
• Godzilla X Kong: The New Empire
• 3 Body Problem
• Play Movie Trivia

'71 Reviews

For a "war" movie, there's few gunshots, yet pure tension. '71 has its best moments when it knows its simple story give space to good moments of adrenaline and chaos. [Full review in Spanish]

Full Review | Original Score: 7/10 | Jun 17, 2022

Violent British wartime thriller has strong language, peril.

Full Review | Original Score: 4/5 | Mar 3, 2021

'71 immerses the viewer in a brutal world where just talking to the wrong person or being seen in the wrong place can get you killed, placing you in the heart of the action, and never pulls punches.

Full Review | Original Score: A- | Jul 6, 2020

Focusing on realism...[Yann] Demange, working with a script by Gregory Burke, goes for the gusto with a gut-wrenching action thriller/ character drama that speaks to the conscience.

Full Review | Dec 8, 2019

In '71, [Yann] DeMange creates a well-paced, gripping feature.

Full Review | Original Score: 4.5/5 | Nov 20, 2019

You can keep your Liam Neeson action tripe and Jason Bourne-inspired shenanigans. We need more of the smart, savvy, sophisticated suspense that '71 has in spades.

Full Review | Original Score: A- | Jul 30, 2019

'71 shows true care and attention to its constructed world.

Full Review | Original Score: 4/5 | May 25, 2019

There is a rich ethical murkiness that runs through this film on a near molecular level, and it strives to gets into the meat of what this kind of violent civil unrest and violence does to people.

Full Review | Aug 25, 2018

A tight script, great action, and well-paced suspense throughout.

Full Review | Original Score: 3.5/5 | Aug 14, 2018

One of the sharpest British movies in some time.

Full Review | Aug 10, 2018

The film touches on the politics that inform the action but not enough to provide much context.

Full Review | Mar 16, 2018

This is one of the most extraordinary films I've seen this year, a knuckle-mashing, head-smashing, Tommy-bashing tour de force.

Full Review | Original Score: 5/5 | Feb 19, 2018

The thick accents and murky lighting will be an impediment to some viewers, but the overall effect will get to you regardless.

Full Review | Oct 17, 2017

'71 takes an ethno-nationalist conflict rooted in hundreds of years of colonialist history and makes it beige, apolitical and gutless.

Full Review | Oct 2, 2017

Everyone knows war is hell, but not all directors know how to bring that concept to life.

Full Review | Aug 21, 2017

The film is certainly cynical about the inner-workings of the army.

Full Review | Aug 14, 2017

Demange crafts a tight, tense, white-knuckle night of the soul. He certainly proves he can stage a riot.

Full Review | Original Score: 3.5/5 | May 25, 2016

An impressive debut feature buoyed by a captivating central turn.

Full Review | Original Score: 3/5 | Mar 17, 2016

He's a passive hero, mostly getting buffeted along by events and people beyond his control. But '71 is no less of a deadly game of cat and mouse for that, focusing more on the other players in this very bad night.

Full Review | Jan 1, 2016

It's O'Connell's film and he's very fine indeed, even making you forgive the occasional (and expected) lapses into 'shaky cam'.

Full Review | Original Score: 3.5/5 | Jan 1, 2016

Common Sense Media

Movie & TV reviews for parents

• For Parents
• For Educators
• Our Work and Impact

Or browse by category:

• Get the app
• Movie Reviews
• Best Movie Lists
• Best Movies on Netflix, Disney+, and More

Common Sense Selections for Movies

50 Modern Movies All Kids Should Watch Before They're 12

• Best TV Lists
• Best TV Shows on Netflix, Disney+, and More
• Common Sense Selections for TV
• Video Reviews of TV Shows

Best Kids' Shows on Disney+

Best Kids' TV Shows on Netflix

• Book Reviews
• Best Book Lists
• Common Sense Selections for Books

8 Tips for Getting Kids Hooked on Books

50 Books All Kids Should Read Before They're 12

• Game Reviews
• Best Game Lists

Common Sense Selections for Games

• Video Reviews of Games

Nintendo Switch Games for Family Fun

• Podcast Reviews
• Best Podcast Lists

Common Sense Selections for Podcasts

Parents' Guide to Podcasts

• App Reviews
• Best App Lists

Social Networking for Teens

Gun-Free Action Game Apps

Reviews for AI Apps and Tools

• YouTube Channel Reviews
• YouTube Kids Channels by Topic

Parents' Ultimate Guide to YouTube Kids

YouTube Kids Channels for Gamers

• Preschoolers (2-4)
• Little Kids (5-7)
• Big Kids (8-9)
• Pre-Teens (10-12)
• Teens (13+)
• Screen Time
• Social Media
• Online Safety
• Identity and Community

Explaining the News to Our Kids

• Family Tech Planners
• Digital Skills
• All Articles
• Latino Culture
• Black Voices
• Asian Stories
• Native Narratives
• LGBTQ+ Pride
• Best of Diverse Representation List

Celebrating Black History Month

Movies and TV Shows with Arab Leads

Celebrate Hip-Hop's 50th Anniversary

Common sense media reviewers.

Violent British wartime thriller has strong language, peril.

A Lot or a Little?

What you will—and won't—find in this movie.

Courage. Teamwork. Putting aside your differences

Soldiers and civilians are shown undertaking acts

Characters box as part of army initiation drill, s

A kid bares their naked backside to a group of sol

Language used includes, "f--k," "f---ing," "s--t,"

Characters drink alcohol in pubs and on the street

Parents need to know that ' 71 is a period wartime action thriller with bloody violent deaths, strong language, and prolonged moments of peril and suspense. Set in Northern Ireland during the "The Troubles" in the 1970s, British soldier Gary Hook (Jack O'Connell), gets accidentally left behind by his unit in a…

Positive Messages

Courage. Teamwork. Putting aside your differences with others. Communities are split by religious and political divides.

Positive Role Models

Soldiers and civilians are shown undertaking acts of bravery during wartime. Soldier Gary Hook shows great courage, but also vulnerability, when he loses his unit. He is also shown to be a caring older brother. Divides between Protestants and Catholics in 1970s Ireland result in fighting and hostility toward British army soldiers and civilians. Minimal representation of women and non-white characters.

Violence & Scariness

Characters box as part of army initiation drill, sustain bloody injuries. Soldiers handle rifles, pelted with objects by kids and spat at by civilians. Civilians beaten with truncheons by police. A tense stand-off escalates into a riot. Soldiers sustain bloody injuries from objects thrown at them. Kid attempts to steal a rifle. Scuffles with punches and kicks. Character shot and killed at close range. Blood spray. Characters discuss attempt to do harm with explosives that are laid out in front of them. An explosion causes death, bloody injuries. Dead bodies shown, some missing limbs. Character held down while bloody cuts are sewn up without anesthetic. Characters stabbed and killed, shot and killed. Gunfights with blood spray.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A kid bares their naked backside to a group of soldiers in an attempt to mock them.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Language used includes, "f--k," "f---ing," "s--t," "damn," "hell," "arse," "pr--k," "d--k," "ball bag," "s---hole," and "c--t." Irish Catholic characters are referred to as "Catholic bastards," "Fenian bastards," and a "Fenian bitch." Sexist language includes David Bowie's music being referred to as being "for girls," while women are referred to as "birds."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Characters drink alcohol in pubs and on the street, but no drunkenness is depicted. A young kid is also seen drinking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that ' 71 is a period wartime action thriller with bloody violent deaths, strong language, and prolonged moments of peril and suspense. Set in Northern Ireland during the "The Troubles" in the 1970s, British soldier Gary Hook ( Jack O'Connell ), gets accidentally left behind by his unit in a heavily divided part of Belfast. Set against this backdrop of religion and nationality, both soldiers and civilians are shown as being capable of kindness and violence. Violence features throughout, ranging from smaller incidents between individuals to explosions and riots, and attacks with guns and knives that result in death. All of these incidents are shown to have "real-world" consequences, with characters frequently harrowed and plunged into shock and trauma as a result. Swearing also features heavily -- including variants of "f--k" and "c--t" -- with characters cursing out of frustration and fear in numerous situations. Slurs and insults are also directed at people based on their religion and nationality. The divides within the British army are also explored, particularly along the lines of class. There is very little diversity among the main cast, but this is perhaps reflective of the types of jobs done by the main characters, the setting, and the time period. A kid is seen baring their naked backside to a group of soldiers, while in another a scene a kid is seen drinking beer. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say

There aren't any parent reviews yet. Be the first to review this title.

What's the Story?

In '71, new recruit to the British army, Gary Hook ( Jack O'Connell ), becomes stranded in Belfast during the height of "The Troubles" in 1970s Northern Ireland. With rioting on the streets, Hook must find his way back to safety, but as a soldier of the British army, help is few and far between.

Is It Any Good?

A thoughtful take on an infamous period of British history, this tense thriller is equal parts art house movie and war film. In '71 , O'Connell stars in one of the roles that established his rise to Hollywood. He plays Hook, an every man soldier who must overcome and then ultimately come to terms with his part in a messy war of attrition. O'Connell perfectly balances Hook's courage and vulnerability, meaning we empathize with him throughout his ordeal.

However, the setting is arguably the main character, and while English towns were used as a stand-in for Northern Ireland, the unfussy but effective production design means that we share Hook's sense of disorientation and confusion. Some suspension of disbelief is required as to why certain characters do not kill each other when they have the chance. But overall '71 excels at keeping the viewer engaged with its mix of bombast and slow-creeping dread.

Talk to Your Kids About ...

Families can talk about the violence in '71 . Did the blood and gore seem over the top? Did the violent scenes help tell the story in an effective way? Was it shocking or thrilling? Why? Does exposure to violent media desensitize kids to violence?

Discuss the strong language used in the movie. Did it feel appropriate for the type of movie it was? What did it contribute to the movie?

How did Hook demonstrate courage and perseverance ? Why are these such good character strengths to have? Can you think of any times when you've had to show courage and perseverance?

What did you know about "The Troubles" in Northern Ireland before you saw this movie? Has it encouraged you to find out more? How to talk to kids about violence, crime, and war.

Talk about Hook's mental health . How is the advice he received about dealing with trauma different to what he might be encouraged to do today? In what other ways has understanding mental well-being improved over the years?

Movie Details

• In theaters : February 27, 2015
• On DVD or streaming : July 7, 2015
• Cast : Jack O'Connell , Sean Harris , Sam Reid
• Director : Yann Demange
• Inclusion Information : Middle Eastern/North African directors
• Studio : Roadside Attractions
• Genre : Thriller
• Topics : History
• Character Strengths : Courage , Perseverance
• Run time : 99 minutes
• MPAA rating : R
• MPAA explanation : strong violence, disturbing images, and language throughout
• Last updated : June 20, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

Our editors recommend.

Bloody Sunday

The Wind That Shakes the Barley

Thriller Movies

Best action movies for kids, related topics.

• Perseverance

Want suggestions based on your streaming services? Get personalized recommendations

Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

Den of Geek

’71 Review

Jack O'Connell stars in '71, a white-knuckled ride into the heart of Belfast's Troubles. Here is our review of the NYFF film.

• Share on Facebook (opens in a new tab)
• Share on Twitter (opens in a new tab)
• Share on Linkedin (opens in a new tab)
• Share on email (opens in a new tab)

There is a moment early in ’71 of immense white-knuckle adrenaline so intense that you could be forgiven for crushing the armrest. Set during the heart of century-long “Troubles” in Northern Ireland, ’71 more than throws viewers into the center of the action; it barrels on top of them and beats them bloody with sticks, bricks, and other assorted urban nightmares. When the British private who is the protagonist of the movie, Gary Hook (Jack O’Connell), is left behind by his comrades-in-arms to deal with the local populace of a burning Belfast slum, ’71 is never better. Indeed, the entire film feels built around this one visceral kick to the gut, even if it leaves much of the rest of the film gasping for air.

While urban “peacekeeping” pacifications are a tragic staple of governance on the news everyday, be it in the farthest reaches of the world or Ferguson, there is something undeniably British about director Yann Demange’s first feature length film. Ostensibly about the affairs of a unified Great Britain, a fact that is repeated, preached, and never convincingly sold once by Hook’s superior officers throughout the movie, it is still about an English private who out of poverty is sent to Northern Ireland to help his “countrymen.” And while the Troubles are (hopefully) behind Belfast in the 21 st century, in 1971, the slums feel like an alien world populated by children who would just as soon throw feces on British soldiers as accept their authority.

As a chase film, Demange intentionally disorients the audience immediately, refusing a spotlight for the era’s contemporary politics. You will not know anymore about why the English are in Ireland coming out of the theater than when you entered. Thus the fog of war surrounding the low income Hook is incredibly thick as to why he must run for his life after he is left behind by his commanding officer.

The conceit makes the movie at once universal, since the reason why one group of men would so ardently hunt another to his death is ultimately perfunctory, but it also leaves the story remote. Jack O’Connell is a promising actor who will be in another story of war torn survival with this December’s highly anticipated Unbroken , but his Gary Hook is a cipher. As a blank slate everyman for audience members to draft themselves onto, Hook’s entire life can be summed up as there is a young boy back home he wants to return to—whether it is a son, brother, cousin, or fellow orphan is unknown—and that he is being hunted by the IRA like they’re the hounds of hell. It draws the viewer into his immediate plight, but it leaves Hook surprisingly distant.

Ad – content continues below

The scene where Hook is abandoned by his posh Tory lieutenant (Sam Reid) is a stunning nerve-destroyer: O’Connell rushes through the streets unsure if there is anywhere to hide from boyish gunmen tossing out bullets as if they were candy. Tat Radcliffe’s gorgeous, filmic cinematography makes this a handheld apocalypse, yet can still find later beauty in every shattered window and burning pub bomb.

But much of the rest of the movie belongs to the shady political wheelings and dealings of the folks who profit from this status quo of horror. There is the IRA diplomat named Boyle (David Wilmot) that is constantly ready to make an accord with the Crown’s authority, so long as his own is not undermined by new fanatical upstarts like Quinn (Killian Scott). And more confusing still is British Captain Sandy Browning, wonderfully played by Sean Harris, who is a commanding officer in Northern Ireland. He let’s this always be known at all times by viewers and his subjects countrymen when he walks around the streets of Belfast in his turtlenecks like it’s Steve McQueen movie.

But his interest is not in saving Hook’s life or even apprehending Quinn, who orchestrated the earlier mayhem that left one other nameless British private an obliterated corpse on a sidewalk. No, Harris’ Browning is just as likely to cut a deal with Boyle or anyone else that can keep things safely disoriented, thus leaving Hook’s survival as a minor negotiable detail of fine print for both sides of the conflict.           

An anti-war film through-and-through, ’71 imagines a labyrinth of careening alliances and petty grievances that prevents a power vacuum at the expense of oppressed minorities, burning children, and an adrift hero. Privates, such as O’Connell’s Hook, are treated like the meat that they are to keep the grinder fed. Not the first such statement about war, it nevertheless has a visceral horror during the picture’s best scenes. However, the unique approach also leaves O’Connell’s strong talents somewhat hamstrung by the vast desolation that his everyman survivor must traverse.

More of a harrowing experience than a narrative, ’71 is rare cinematic glimpse into the mindless terror of its snapshot in history, and worthy of a run down the streets of its troubled visions.

Like us on  Facebook  and follow us on  Twitter  for all news updates related to the world of geek. And  Google+ , if that’s your thing!

David Crow | @DCrowsNest

David Crow is the movies editor at Den of Geek. He has long been proud of his geek credentials. Raised on cinema classics that ranged from…

Your subscription makes our work possible.

We want to bridge divides to reach everyone.

Get stories that empower and uplift daily.

Already a subscriber? Log in to hide ads .

Select free newsletters:

A selection of the most viewed stories this week on the Monitor's website.

Every Saturday

Hear about special editorial projects, new product information, and upcoming events.

Select stories from the Monitor that empower and uplift.

Every Weekday

An update on major political events, candidates, and parties twice a week.

Twice a Week

Stay informed about the latest scientific discoveries & breakthroughs.

Every Tuesday

A weekly digest of Monitor views and insightful commentary on major events.

Every Thursday

Latest book reviews, author interviews, and reading trends.

Every Friday

A weekly update on music, movies, cultural trends, and education solutions.

The three most recent Christian Science articles with a spiritual perspective.

Every Monday

''71' is an effective thriller but sometimes too evenhanded

'’71' is about a young British Army soldier, Pvt. Gary Hook (Jack O’Connell), who in 1971 is shipped out with his regiment to Northern Ireland just as the Troubles are accelerating.

• By Peter Rainer Film critic

February 27, 2015

" '71" is about a young British Army soldier, Pvt. Gary Hook (Jack O’Connell), who in 1971 is shipped out with his regiment to Northern Ireland just as the Troubles are accelerating. Garrisoned in a reclaimed schoolhouse, Hook is deployed the next day to search the Catholic neighborhood near the Falls Road front line. 

Like so many of his young fellow soldiers, Hook is entirely unprepared for the vehemence he encounters. A riot quickly ensues. Trying to retrieve a rifle, Hook finds himself caught behind enemy lines, as it were, as he flees the IRA men bent on killing him. His own troops have already retreated and, apparently, forgotten about him.

There are daytime sequences in “ ’71” but the movie is so drenched in darkness that, when I think back on it, it’s like one great big nocturnal blur. It takes place mostly over the course of one night as Hook – at various times pummeled, captured, on the run, and hidden by a do-gooder Catholic father and daughter (Richard Dormer and Charlie Murphy) – darts his way through the purgatorial streets. The director, Yann Demange, born in Paris and raised in London, has discussed in interviews the dual influences of such disparate films as “The Battle of Algiers” and “Escape From New York,” and you can see both at work here. (I was also reminded a bit of Carol Reed’s classic 1947 “Odd Man Out,” with James Mason as an Irish rebel hunted at night by the police.) The night world that Hook struggles through is both realistically grounded and almost fantastical in its dystopian horrors.  

Demange directed acclaimed British television shows, such as “Top Boy,” before this, his first feature. His Scottish screenwriter, Gregory Burke, wrote the acclaimed stage play “Black Watch,” about soldiers in Iraq. They universalize Hook’s story without losing its specificity. Lethal elements are on display on all sides of this conflict, and Hook finds himself unable to trust just about anybody. He rarely even speaks, partly because he is traumatized but also because he doesn’t want his accent to give him away.

The filmmakers don’t give Hook much of a back story. We know from an early scene that he was raised in an orphanage with his younger brother, but essentially Hook is a blank slate – a callow kid with no idea what lies ahead. He doesn’t even have any discernible politics, and the point is implicitly made that he is not that far removed, in age or life experience, from the rabid youths who are pursuing him. 

Viewed purely as a thriller, “ ’71” is highly effective. However, by taking no sides and painting almost everybody except Hook with a black brush, the movie can sometimes seem too blandly evenhanded. Gillo Pontecorvo’s “The Battle of Algiers,” the film’s reputed main model, was a furious act of pro-Algerian partisanship that was no less emotionally or politically complex for being so. Demange and Burke don’t take the kind of risks that Pontecorvo took, and so their achievement is much smaller in scope. (This would be true of just about any movie – “The Battle of Algiers” is one of the greatest ever made.) 

But within its limited compass, “ ’71” packs a punch, and the lack of political bias does give it a more encompassing feel. Hook’s passage through this hellacious city acquires a symbolic force that transcends the specifics of his plight. And O’Connell, who likewise was pummeled and tortured as Louis Zamperini in “Unbroken,” is quite touching here. His callowness in the face of this horror makes it all seem that much more horrific. Hook is a particular soldier in a particular time, but he could also be a stand-in for any of us as we attempt to fight on. Grade: B+ (Rated R for strong violence, disturbing images, and language throughout.)

Help fund Monitor journalism for $11/ month

Already a subscriber? Login

Monitor journalism changes lives because we open that too-small box that most people think they live in. We believe news can and should expand a sense of identity and possibility beyond narrow conventional expectations.

Our work isn't possible without your support.

Unlimited digital access $11/month.

Digital subscription includes:

• Unlimited access to CSMonitor.com.
• CSMonitor.com archive.
• The Monitor Daily email.
• No advertising.
• Cancel anytime.

Related stories

The 50 best movies of all time, review 'mcfarland, usa': star kevin costner is excellent as a high school coach, review 'wild tales': some of the stories are first-rate, others are misfires, share this article.

Link copied.

Dear Reader,

About a year ago, I happened upon this statement about the Monitor in the Harvard Business Review – under the charming heading of “do things that don’t interest you”:

“Many things that end up” being meaningful, writes social scientist Joseph Grenny, “have come from conference workshops, articles, or online videos that began as a chore and ended with an insight. My work in Kenya, for example, was heavily influenced by a Christian Science Monitor article I had forced myself to read 10 years earlier. Sometimes, we call things ‘boring’ simply because they lie outside the box we are currently in.”

If you were to come up with a punchline to a joke about the Monitor, that would probably be it. We’re seen as being global, fair, insightful, and perhaps a bit too earnest. We’re the bran muffin of journalism.

But you know what? We change lives. And I’m going to argue that we change lives precisely because we force open that too-small box that most human beings think they live in.

The Monitor is a peculiar little publication that’s hard for the world to figure out. We’re run by a church, but we’re not only for church members and we’re not about converting people. We’re known as being fair even as the world becomes as polarized as at any time since the newspaper’s founding in 1908.

We have a mission beyond circulation, we want to bridge divides. We’re about kicking down the door of thought everywhere and saying, “You are bigger and more capable than you realize. And we can prove it.”

If you’re looking for bran muffin journalism, you can subscribe to the Monitor for $15. You’ll get the Monitor Weekly magazine, the Monitor Daily email, and unlimited access to CSMonitor.com.

Subscribe to insightful journalism

Subscription expired

Your subscription to The Christian Science Monitor has expired. You can renew your subscription or continue to use the site without a subscription.

Return to the free version of the site

If you have questions about your account, please contact customer service or call us at 1-617-450-2300 .

This message will appear once per week unless you renew or log out.

Session expired

Your session to The Christian Science Monitor has expired. We logged you out.

No subscription

You don’t have a Christian Science Monitor subscription yet.

• facebook-rs

By Peter Travers

Peter Travers

The title refers to 1971, the year when Gary Hook (Jack O’Connell), a private in the British army, finds himself stranded on the streets of Belfast. The situation leaves him a target for the warring forces of Catholic nationalists — who are embroiled in their own internal conflicts with the IRA and other radical insurgents — and Protestant loyalists.

In short, our boy Gary is in the shit. And ’71, the hard-charging debut feature from TV director Yann Demange, makes us live every vivid, violent moment with him, the threat of death lurking at every turn. Director Paul Greengrass took a documentary approach to the same Troubles in 2002’s Bloody Sunday . Demange’s film, spiked by an outstanding, all-stops-out O’Connell, makes politics unnervingly personal. Too much? What else do you expect of a cinematic knockout punch that sends you reeling?

Shakira's Sons Thought 'Barbie' Was 'Emasculating,' and She Kinda Agrees

• Barbie Backlash
• By Jon Blistein

Lisa Vanderpump Isn't Trying to Recreate 'VPR' on New Series 'Vanderpump Villa': It's 'a Different Energy'

• Chateau Rosabelle
• By Krystie Lee Yandoli

Lindsay Lohan and Jamie Lee Curtis Will Revert to Teenage Melodrama in 'Freaky Friday 2'

• Here We Go Again
• By Larisha Paul

'Steve! (Martin)' Revisits the Heyday of a Wild and Crazy Comedian

• By David Fear

Rebel Wilson Says She Felt ‘Disrespected’ on ‘Brothers Grimsby’ Set: ‘I Was Something to Be Laughed at and Degraded’

• Speaking Out
• By Althea Legaspi

Most Popular

Chance perdomo, 'gen v' and 'chilling adventures of sabrina' star, dies at 27, where to stream 'quiet on set: breaking the silence' episode 5 online, touré says diddy terminated his cousin's internship after refusing to sleep with him, odell beckham jr. allegedly broke up with kim kardashian after her reported, family-oriented plans about them, you might also like, zoe saldaña says it’d be a ‘huge loss for marvel if they didn’t find a way to bring back’ the guardians of the galaxy, even if she’s done playing gamora, 10 times serena williams served beauty, on and off the court: the best hair and makeup moments, the best exercise mats for working out, according to fitness experts, olivia colman and benedict cumberbatch to lead ‘war of the roses’ remake, hoops fans can’t get enough of the angel reese-caitlin clark rivalry.

Rolling Stone is a part of Penske Media Corporation. © 2024 Rolling Stone, LLC. All rights reserved.

Verify it's you

Please log in.

• Become a Critical Movie Critic
• Movie Review Archives

Movie Review: ’71 (2014)

• Howard Schumann
• Movie Reviews
• No responses
• --> March 15, 2015

War is hell even under optimal conditions, but when you do not know who your friends are or even who you can and cannot trust, it gets even darker. Just ask Private Gary Hook (Jack O’Connell, “ Unbroken ”), a raw recruit in the British Army who, contrary to his expectations of being sent to Germany, winds up on the streets of Belfast, Northern Ireland in the time of “The Troubles.” Written by Gary Burke and nominated for nine British Independent Film Awards, first-time feature director Yann Demange’s gritty anti-war thriller, ’71 is a graphic depiction of the early days of the bitter struggle in Northern Ireland between the Protestant Loyalists who want to remain in the U.K., and the Catholic Republicans whose desire is to build a united Ireland, free of British rule.

The film opens with Hook playing football with his younger brother Darren (Harry Verity) outside of a children’s home where apparently he also grew up. An emotional goodbye to Darren puts us on his side, hoping along with his brother that he returns from the war in one piece. Except for a briefing of the soldiers about the physical boundaries of each faction, Demange does not offer any background information on the issues involved in the conflict but deposits us into the middle of the battle, allowing us to be as confused as Private Hook. With the extensive use of a shaky handheld camera, we witness a riot that breaks out on the Catholic streets of Belfast after the British soldiers go door- to-door searching for Republican weapons and the Protestant police force (RUC) inflame the situation with their brutal questioning.

When one of his mates is felled by an IRA bullet, Hook is separated from his regiment under the command of the also inexperienced Lt. Armitage (Sam Reid, “Belle”). On his run through the embattled city dodging Molotov cocktails and burning cars, the disoriented Hook seeks to escape from the pursuit of the younger, more violent Provos, split from the traditional IRA. Haggerty (Martin McCann, “ Killing Bono ”) and Quinn (Killian Scott, “ Calvary ”) are out to kill him but he must also protect himself from British undercover Military Reaction Force (MRF) officers Lewis (Paul Anderson, “ Sherlock Holmes: A Game of Shadows ”) and Browning (Sean Harris, “ Prometheus ”) who conclude that he might have seen too much. Working with the rebels is teenager Sean (Barry Keoghan, “Stay”) whose naiveté matches that of Hook and who must confront the prospect of having to shoot Gary, a task he is not ready for.

A hardened Protestant boy, exceptionally performed by Corey McKinley, promises to lead him back to his unit, but is caught in the middle of an accidental bomb explosion inside a British pub, though Gary’s life is saved by Catholic civilians Eamon (Richard Dormer, “Good Vibrations”) and his daughter Brigid (Charlie Murphy, “ Philomena ”). Barely healed, Hook must now elude pursuers IRA members Boyle and Quinn who are engaged in a power struggle within the IRA.

Even though the plotting is complex and sorting out the personalities and their motives is a daunting task, not helped by the barely decipherable accents, ’71 is still a superb achievement, an intense and visceral experience that spares no one in its depiction of the insanity committed in the name of ideology. In the dehumanized world we are privy to where every individual is “a piece of meat,” we can relate to Hook’s sense of lost glory. Alienated from, in poet Wilfred Owen’s phrase “the old lie; Dulce et Decorum est Pro patria mori. (it is sweet and right to die for your country).” Jack O’Connell’s authentic performance of the young soldier makes the tragedy of war all too real.

Tagged: Army , British , civil war , soldier

I am a retired father of two living with my wife in Vancouver, B.C. who has had a lifelong interest in the arts.

Movie Review: Hit the Road (2021) Movie Review: Happening (2021) Movie Review: Playground (2021) Movie Review: The Power of the Dog (2021) Movie Review: After Yang (2021) Movie Review: The Tragedy of Macbeth (2021) Movie Review: The Worst Person in the World (2021)

'Movie Review: ’71 (2014)' has no comments

Privacy Policy | About Us

 |  Log in

• Movie Reviews
• Blu-ray/DVD

Thursday, March 12, 2015

"'71" movie review: a tense, visceral story of a soldier on the run.

No comments:

Post a Comment

Thanks For Rating

Reminder successfully set, select a city.

• Nashik Times
• Aurangabad Times
• Badlapur Times

You can change your city from here. We serve personalized stories based on the selected city

• Edit Profile
• Briefs Movies TV Web Series Lifestyle Trending Medithon Visual Stories Music Events Videos Theatre Photos Gaming

Is Deepika Padukone planning to grace Met Gala 2024 after being tagged as 'insecure' of Alia Bhatt's debut last year? Here's what we know...

'Crew' box office collection day 4: The Kareena Kapoor, Tabu and Kriti Sanon starrer collected Rs 4.50 crore on its first Monday

Parineeti Chopra slams pregnancy rumours, Boney Kapoor talks about Janhvi-Arjun Kapoor's past relationships, Farah Khan wants to make a movie again with Shah Rukh Khan: TOP 5 entertainment news of the day

Shah Rukh Khan's 'Kuch Kuch Hota Hai', Ranveer Singh's 'Bajirao Mastani', Shahid Kapoor's 'Padmaavat': 5 movies rejected by Ajay Devgn

Exclusive! Navya Nanda on the possibility of featuring Amitabh, Aishwarya and Abhishek Bachchan on her podcast: I would want to take it out of the family - WATCH video

Pooja Bhatt reveals if Mahesh Bhatt would go back to direction; shares her thoughts on Alia Bhatt's choices as a producer - Exclusive

• Movie Reviews

Movie Listings

30 Hours Survival: Gau...

Welcome Wedding

Bengal 1947

3rd October

What A Kismat

Madgaon Express

Swatantrya Veer Savark...

Mr. & Mrs. Mahi

Aditi Rao Hydari’s aesthetic camera roll

Most stylish clicks of Komal Thacker

Monalisa's jaw-dropping pics in black

Alia Bhatt exudes regal vibes in a maroon velvet gown

Samyuktha Hegde's March timeline through mirror!

Spring Stylebook ft. Neeru Bajwa

Akshay Kumar to Priyanka Chopra - Bollywood's biggest pranksters

Tamannaah Bhatia sets internet ablaze in green pre-draped saree

Rima Kallingal's most alluring moments captured!

Mrunal Thakur serves fashion masterclass in black cocktail dresses

Knox Goes Away

Godzilla x Kong: The Ne...

Chabak: Night Of Murder...

Arthur The King

Kung Fu Panda 4

To Kill A Tiger

Boomer Uncle

Veppam Kulir Mazhai

Kaa: The Forest

Netru Indha Neram

Idi Minnal Kadhal

Aansplaining

Yaavarum Vallavare

Tillu Square

Babu: No.1 Bullshit Guy

Om Bheem Bush

Happy Ending

Bhoothaddam Bhaskar Nar...

Operation Valentine

Siddharth Roy

The Goat Life

Jananam 1947 Pranayam T...

Manjummel Boys

Anweshippin Kandethum

Malaikottai Valiban

Vivekanandan Viralanu

Abraham Ozler

Karataka Damanaka

Matsyagandha

Mr.Natwarlal

For Regn: For Registrat...

Shakhahaari

Bonbibi: Widows Of The ...

Pariah Volume 1: Every ...

Shri Swapankumarer Bada...

Manush: Child of Destin...

Bogla Mama Jug Jug Jiyo

Ektu Sore Boshun

Sarabha: Cry For Freedo...

Zindagi Zindabaad

Maujaan Hi Maujaan

Chidiyan Da Chamba

White Punjab

Any How Mitti Pao

Gaddi Jaandi Ae Chalaan...

Buhe Bariyan

Alibaba Aani Chalishita...

Aata Vel Zaali

Shivrayancha Chhava

Delivery Boy

Sridevi Prasanna

Sur Lagu De

Chhatrapati Sambhaji

Devra Pe Manva Dole

Dil Ta Pagal Hola

Ittaa Kittaa

Jaishree Krishh

Bushirt T-shirt

Shubh Yatra

Your Rating

Write a review (optional).

• Movie Reviews /

Would you like to review this movie?

Cast & Crew

IB 71 Movie Review : This 71’ saga around the Indo-Pak standoff is a gripping cinematic experience

• Times Of India

In-depth Analysis

Our overall critic’s rating is not an average of the sub scores below.

IB 71 - Official Trailer

IB 71 - Official Teaser

IB 71 - Dialogue Promo

Users' Reviews

Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Sandy 388 81 days ago

IB 71 starring Anupam Kher and Vidyut Jammwal is based on an untold story of Indian Airlines hijacking in the year 1971 before the Bangladesh Liberation War in December 71. Ganga was an old aircraft in the Indian Airlines fleet, already withdrawn from service but was re-inducted just days before the hijacking. The film highlights the role of IB (Intelligence Bureau) in the months leading to 1971 War and how behind the scenes work of IB agents contributed to India's win in the liberation of Bangladesh. A must watch to understand the contribution of our men and women from the Intelligence community.

gangulyabhinandan 1 240 days ago

A must watch movie.

Pawan Kumar Singh 1958 255 days ago

CLEMENT PINTO 259 days ago

Ssrinivasa 1 262 days ago.

Good movie good acting

Visual Stories

Entertainment

​Priya Bapat shines in graceful saree elegance​

​Times Pujitha Devaraju won hearts with her style game​

IPL 2024 Bengaluru vs Lucknow: Top attractions to explore in Bengaluru after the match

Sobhita Dhulipala's elegant yet simple cotton saree look redefines grace

5 delicious ways of cooking jackfruit, and why it is a must-have vegetable in summer

10 yoga poses that can improve concentration power

Taapsee Pannu aces fusion fashion in a pant saree

10 Indian states and their traditional saris

News - IB 71

Vidyut Jammwal's 'IB 71' to come out on OTT platform in...

Kolkata girl Mohor Unadkat part of IB71

IB 71 and Chatrapathi BO report week 1: Vidyut Jammwal ...

Trade Talk: Will the Juggernaut called The Kerala Story...

Vidyut dedicates 'IB 71' opening credits to fans fondly...

Dalip Tahhil: Spent months researching Zulfiqar Bhutto'...

SUBSCRIBE NOW

Get reviews of the latest theatrical releases every week, right in your inbox every Friday.

Thanks for subscribing.

Please Click Here to subscribe other newsletters that may interest you, and you'll always find stories you want to read in your inbox.

Popular Movie Reviews

Woh Bhi Din The

Patna Shuklla

Swatantrya Veer Savarkar

Ae Watan Mere Watan

We've detected your location as Mumbai . Do you want to switch?

Accurate city detection helps us serve more contextual content

• You are in (Delhi) Change City
• ETimes Home
• Web Series Trailers
• Movie Reviews
• Movie Listings

Visual Stories

• Did You Know?
• Bigg Boss 17
• Relationships
• Health & Fitness
• Soul Search
• Home & Garden
• Women's Day Special

Entertainment

• Music Awards
• Bhubaneshwar
• humburgerIcon humburgerIcon humburgerIcon

• Cast & Crew
• Movie Review
• Users' Reviews

The film revolves around Dev Jammwal (Vidyut Jammwal), an intelligence officer who receives critical information about Pakistan and China's impending attacks on Indian soil within a mere ten-day timeframe. With limited time and resources, the only viable strategy to counter this threat is by implementing an airspace blockade.

IB 71 Movie Review: This 71’ saga around the Indo-Pak standoff is a gripping cinematic experience

• Times of India

In-depth Analysis

Our overall critic’s rating is not an average of the sub scores below.

IB 71 - Official Trailer

IB 71 - Official Teaser

IB 71 - Dialogue Promo

SUBSCRIBE NOW

Get reviews of the latest theatrical releases every week, right in your inbox every Friday.

Thanks for subscribing.

Please Click Here to subscribe other newsletters that may interest you, and you'll always find stories you want to read in your inbox.

Sandy 388 81 days ago

IB 71 starring Anupam Kher and Vidyut Jammwal is based on an untold story of Indian Airlines hijacking in the year 1971 before the Bangladesh Liberation War in December 71. Ganga was an old aircraft in the Indian Airlines fleet, already withdrawn from service but was re-inducted just days before the hijacking. The film highlights the role of IB (Intelligence Bureau) in the months leading to 1971 War and how behind the scenes work of IB agents contributed to India's win in the liberation of Bangladesh. A must watch to understand the contribution of our men and women from the Intelligence community.

gangulyabhinandan 1 240 days ago

A must watch movie.

Pawan Kumar Singh 1958 255 days ago

CLEMENT PINTO 259 days ago

Ssrinivasa 1 262 days ago.

Good movie good acting

​Priya Bapat shines in graceful saree elegance​

​Times Pujitha Devaraju won hearts with her style game​

IPL 2024 Bengaluru vs Lucknow: Top attractions to explore in Bengaluru after the match

Sobhita Dhulipala's elegant yet simple cotton saree look redefines grace

Aditi Rao Hydari’s aesthetic camera roll

5 delicious ways of cooking jackfruit, and why it is a must-have vegetable in summer

10 yoga poses that can improve concentration power

Taapsee Pannu aces fusion fashion in a pant saree

10 Indian states and their traditional saris

Most stylish clicks of Komal Thacker

• Entertainment /
• Movie Reviews /
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
• The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

Choose your reason below and click on the Submit button. This will alert our moderators to take action

• Foul language
• Inciting hatred against a certain community
• Out of context/Spam
• Copied from article

• Cast & crew
• User reviews

A spy action thriller about the two-front war between Indian intelligence agencies and the Pakistani establishment in 1971. A spy action thriller about the two-front war between Indian intelligence agencies and the Pakistani establishment in 1971. A spy action thriller about the two-front war between Indian intelligence agencies and the Pakistani establishment in 1971.

• Sankalp Reddy
• Lee Whittaker
• Sahar Quaze
• Vasudev Reddy
• Anupam Kher
• Vidyut Jammwal
• Nissar Khan
• 38 User reviews
• 10 Critic reviews

• IB Chief N.S. Awasthi

• Pakistani officer

• Zulfikar Ali Bhutto

• Pilot of hijacked flight

• SI JK Police

• Qasim Qureshi

• Tapan Majumdar

• Abdul Hamid Khan
• Shimla Station Manager
• Ashfaq Qureshi

• Indian Agent in Pakistan
• Major Mushtaq Khan
• All cast & crew
• Production, box office & more at IMDbPro

More like this

Did you know

• Trivia Vidyut Jamwal himself had approached director Sankalp Reddy with the script.

User reviews 38

• khanarshi-96475
• May 15, 2023
• How long is IB 71? Powered by Alexa
• May 12, 2023 (India)
• Action Hero Films
• Reliance Entertainment
• See more company credits at IMDbPro

Technical specs

• Runtime 1 hour 57 minutes

Related news

Contribute to this page.

• See more gaps
• Learn more about contributing

More to explore

Recently viewed

20 horror movies that were so disturbing, even seasoned fans couldn't stomach them

Posted: March 30, 2024 | Last updated: March 30, 2024

20 of the most controversial horror films

Art often stirs up controversy, especially when dealing with delicate subject matters such as religion, sexuality, and violence. Some might say the best art provokes its audience, although one could also argue that mere provocation without substance means nothing (as is often the discussion surrounding the infamous "The Human Centipede" trilogy ).

As time has gone on, the boundaries of audience tolerance and good taste have shifted and been tested, which is particularly apparent in the horror genre. Already aimed to cause the viewer a certain level of distress, many directors have pushed horror movies to the far reaches of human discomfort. Why? Perhaps because it's simply the story the filmmaker wants to tell; perhaps it's an attempt to convey a certain message; or perhaps it's because, well, they can.

Some films—like "Cannibal Holocaust," "Martyrs," and "Salò, or the 120 Days of Sodom"—seem to go even beyond the beyond, which can not only spur backlash but place them squarely in the purgatory of ratings disputes or even outright bannings, as determined by different country's ratings boards. Ratings contribute to a film's distribution, and an extremely restrictive rating, such as NC-17, can cause a movie to be severely limited in certain markets.

For this list, Stacker explored some of the most contentious horror movies ever made, sourced from a variety of film reviews, news articles, and retrospectives. Some older entries on this list might seem quite tame by today's standards (like 1973's "The Exorcist" or 1981's "The Evil Dead") while there are others we wouldn't even suggest readers go and watch. (However, if you do decide to, don't say we didn't warn you.)

Without further ado, here are 20 of the most controversial horror movies of all time.

Possession (1981)

In "Possession," married couple Mark (Sam Neill) and Anna (Isabelle Adjani) are thrown into increasing emotional disarray after Mark finds out that Anna has been cheating on him. But things become strange and surreal as Mark's emotional torment threatens to overtake him, and Anna hides a bigger and much darker secret than the affair.

Despite a warm reception at the 1981 Cannes Film Festival, "Possession" was lumped in with the colloquially termed "video nasties" in the U.K. in the early '80s due to what was considered its extreme, disturbing nature at the time. That's when the director of public prosecutions created a list of 72 films believed to contain extreme sexual violence and gore , which set them up to be prosecuted under the Obscene Publications Act. "Possession" was initially banned in the United States as well—eventually, in 1983, it was released with a version cut 40 minutes shorter than the original .

The Evil Dead (1981)

A group of young friends sojourns to a cabin in the woods, only to stumble upon a flesh-bound book known as the Necronomicon. The contents of the book unleash a torrent of evil body-possessing spirits called Deadites upon the group. Ultimately, it's up to one of them, Ash Williams (Bruce Campbell), to fight the Deadites or become one.

The first film in director Sam Raimi's popular "Evil Dead" franchise was met with controversy due to the gruesomeness and sexual violence it depicted. The British Board of Film Classification asked Raimi to tone down the most excessively violent and gory scenes, which led to 49 seconds being cut from the original version . Still, it was given the most restrictive ratings in the U.K. and U.S. and, like "Possession," declared a "video nasty." (It took until 2001 for an uncut version of "The Evil Dead" to finally reach U.K. audiences.) At the time of its release, the movie was outright banned in countries like Finland, Ukraine, and Singapore.

I Spit on Your Grave (1978)

In Meir Zarchi's controversial 1978 flick "I Spit on Your Grave," a young woman is brutally assaulted and left for dead by a group of men, leading her to go on a warpath to get revenge. Due to its graphic depictions of sexual violence, the film was met with significant controversy in the United States over its rating. The Motion Picture Association of America had awarded an edited version of the "I Spit on Your Grave" an R rating, but the organization eventually sued the producer in 1984, claiming they added in more scenes of sexual violence after the rating was handed down—scenes that would have given the film an X rating.

Critic Roger Ebert also became a loud and outspoken detractor of the movie, calling it "a vile bag of garbage" and saying watching it was "one of the most depressing experiences of [his] life." "I Spit on Your Grave" was also dubbed a "video nasty" in the U.K. and banned or censored in other countries. A 2010 remake and its two sequels were met with similar ire.

Cannibal Holocaust (1980)

"Cannibal Holocaust" is one of the most notorious films of all time . The Italian horror movie follows an anthropologist on a rescue mission in the Amazon when he finds the lost footage from a documentary crew who had mysteriously disappeared. The crew intended to document the region's Indigenous cannibal tribes, and the footage disturbingly reveals just what happened to them.

When it premiered in 1980, "Cannibal Holocaust" was so controversial that, 10 days after it first screened in Milan, director Ruggero Deodato was charged with obscenity , and the film was seized. Later, Deodato was even charged with murder over rumors that actors were filmed being killed, though the charges were dropped when that proved to be false. "Cannibal Holocaust" was also banned in several countries over its gruesome depictions of violence, including real animal killings. Decades later, the movie is considered to be the pioneer of the found-footage horror genre, paving the way for movies like "The Blair Witch Project" and the "Paranormal Activity" franchise.

Antichrist (2009)

The tragic death of an infant child at the accidental hands of his parents (unnamed in the film and played by Willem Dafoe and Charlotte Gainsbourg) puts the mother in particular in a deep state of grief, leaving her psychiatrist husband desperate to treat her. He takes her to a remote cabin in the woods in an attempt to help her, but it only causes her to become more unhinged and sexually violent.

No stranger to controversy, director Lars von Trier's "Antichrist" was met with polarizing reactions from critics, with some calling it " a masterpiece of abject horror ," others deeming it " colossally boring and pretentious ," and some questioning if it was "a work of genius or the sickest film in the history of cinema ?" Von Trier made different cuts for potential distributors at the famed Cannes Film Festival in the south of France to avoid censorship.

The team behind "Antichrist" chose not to apply for an MPAA rating in the U.S.; instead, they released an unrated version to six stateside theaters . Meanwhile, seven years after its release, "Antichrist" was banned in France when a court ruled that the initial rating, allowing those 16 years old and up to see it, was "a mistake" amid pressure from a Catholic traditionalist group.

The Devils (1971)

"The Devils" is based partly on the true story of a 17th-century priest named Urbain Grandier accused of witchcraft after a group of nuns claimed to be possessed by evil spirits. Director and producer Ken Russell's take on this historical account includes graphic violence, sexually explicit scenes, and controversial religious depictions, which led to it being banned in numerous markets . In the U.S., it was given an X rating only after being heavily cut, including one particularly controversial scene in which nuns have sex with a life-size statue of Jesus Christ.

Dead Alive (1992)

Before Peter Jackson directed the "Lord of the Rings" trilogy, he helmed one of the most appalling splatter flicks of all time. "Dead Alive," known as "Braindead" in its native New Zealand, follows a hapless young man named Lionel (Timothy Balme) whose overbearing mother is bitten by a deadly Sumatran rat-monkey, leading to a string of undead murders and mayhem.

While the BBFC ultimately gave the film an 18-and-older rating , the board originally considered the gore lighthearted enough to warrant a less restrictive rating. However, other countries found the content worthy of heavy censoring (like in the United States, where it ultimately received an R rating) or altogether banning (as was the case in Finland, Singapore, and South Korea).

The Last House on the Left (1972)

The late director Wes Craven is the king of slasher movies, creating the "Nightmare on Elm Street" franchise and directing the first four installments of the "Scream" series. But it was his directorial debut, "The Last House on the Left," that arguably ruffled the most feathers.

The controversial film follows two 17-year-old girls who are lured to the apartment of a group of escaped prisoners, where they're raped and tortured. The story, which Craven and company claimed was true , pushed the boundaries of how realistic sexual violence and other forms of physical violence could be depicted on screen. "The Last House on the Left" was banned in multiple countries, including the U.K. and Australia. In the U.S., the film's tagline ("Can a movie go too far?") brought it added notoriety. Today, of course, it's considered a horror classic.

The Texas Chain Saw Massacre (1974)

It may be hard to believe that the original "The Texas Chain Saw Massacre" and its villain, Leatherface, almost didn't see the light of day, considering how deeply cemented in horror movie history they are today. The movie, which was marketed as being based on true events like "The Last House on the Left," felt all the more realistic thanks to its largely unknown cast of young people who are attacked in an abandoned house they're seeking refuge in.

Director and producer Tobe Hooper struggled to find a distributor for "The Texas Chain Saw Massacre" and wanted his film to be seen as widely as possible, so he limited the quantity of fake blood on screen in the hopes of securing a PG rating from the MPAA. Unfortunately for him, the violence and terror depicted (bloody or not) yielded an R-rating and the movie faced more extreme reactions abroad, getting banned in countries like Australia and the U.K. James Ferman, the secretary of the BBFC in 1975, described the movie as "the pornography of terror."

The Exorcist (1973)

Regan MacNeil (Linda Blair) is a normal adolescent girl—until she becomes possessed by the demonic entity Pazuzu, who turns Reagan from a sweet, happy child into a vomit-spewing, tongue-speaking servant of hell. In William Friedkin's masterpiece of horror, it's up to Fathers Damien Karras (Jason Miller) and Lankester Merrin (Max von Sydow) to exorcise Regan of this evil force before it tears her and her mother (Ellen Burstyn) apart.

"The Exorcist" sparked a torrent of notoriety and controversy : at screenings, with ratings boards, and among religious groups . It was banned in parts of the U.K. until 1998, and the trailer alone was banned in America after its strobe effects resulted in seizures and vomiting from test audiences .

Faces of Death (1978)

With its unique combination of staged scenes and historical footage, "Faces of Death" presents audiences with many macabre deaths, all narrated by a fictional pathologist named Francis B. Gröss (Michael Carr). Some of the movie's most infamous sequences were acted, but because of the real footage used (including scenes from slaughterhouses and concentration camps), "Faces of Death" was banned in many countries , like Australia, New Zealand, Germany, and the U.K., where it was deemed a "video nasty." There are (somewhat dubious) claims that it was barred in 46 countries .

The Human Centipede 2 (Full Sequence) (2011)

The sequel to Tom Six's notorious body horror film "The Human Centipede" is a metatextual continuation about a man who becomes so obsessed with the original film that he embarks on his own quest to create a 12-person human centipede. Due to its shocking depictions of violence, sexual violence, and gore, "The Human Centipede 2 (Full Sequence)" was heavily censored or outright banned, including in the U.K. (albeit, for four months), Australia , and New Zealand . At the movie's North American premiere at Fantastic Fest in 2011 in Austin, Texas, one audience member needed paramedic assistance after watching the film.

Salò, or the 120 Days of Sodom (1975)

Based loosely on the 18th-century novel by the Marquis de Sade, Italian director Pier Paolo Pasolini's final film depicts a group of depraved fascists who kidnap nine young boys and girls and subject them to 120 days of mental, physical, and emotional torture. A controversial work by a controversial artist, "Salò" is considered by some film scholars to be a classic and an essential work . However, it was banned in several countries  due to its perverse and extreme content, especially because the plot centers on minors.

A Serbian Film (2010)

A retired and financially insecure porn star agrees to take part in an art film in order to support his family; it turns out to be a snuff film of horrific content. Suddenly, the porn star is faced with cruelty and violence beyond his comprehension and he finds himself fighting to survive. Upon its premiere, "A Serbian Film" was met with immediate controversy and backlash due to its gratuitous violence and sexual content—it is considered by some to be one of the most disturbing and nastiest films of all time. Even more than 10 years after its release, "A Serbian Film" is still banned in several countries, like Spain, Australia, and New Zealand.

Grotesque (2009)

A doctor with extreme degenerate desires kidnaps a young couple and forces them through a gauntlet of torment and horror, which slowly but surely crushes their hopes of survival in this Japanese exploitation horror film. Due to its extensive sequences of torture, "Grotesque" was banned in the U.K. , which subsequently caused the film to be pulled from Amazon Japan .

Ultimately though, that may have been what director Kôji Shiraishi wanted. "I'm a little disappointed, but actually that means the movie I've made has the power to cause a controversy, so I'm happy in that way,"  he told 3:AM magazine , noting his producer told him to make a movie "so violent that it almost can't be shown."

Henry: Portrait of a Serial Killer (1986)

Released from his stint in prison for murdering his own mother, serial killer Henry (Michael Rooker) has a day job as an exterminator and moonlights indiscriminately murdering random people. The gritty violence and realism of "Henry: Portrait of a Serial Killer," loosely based on real-life serial killers Henry Lee Lucas and Ottis Toole, caused censorship challenges upon its release, though director John McNaughton refused to make cuts to get it an R rating. He refused to brand the movie with the X-rating the MPAA gave it ; ultimately, it was released as "unrated" and ended up contributing to the MPAA's revised NC-17 rating .

Inside (2007)

In this French horror film, a pregnant woman finds herself tormented by an intruder while home alone at night, and she must find a way to fight for both her survival and that of her unborn child. Considered to be part of the New French Extremity movement—a series of transgressive and controversial movies released towards the beginning of the 21st century—"Inside" received mostly positive reviews and was called " the last great slasher movie " by Screen Rant. But the extensiveness of its gore, violence, and torture of a pregnant woman resulted in some backlash; even reviews praising the film acknowledged it " crosses the line ."

Irréversible (2002)

Set in reverse-chronological order, Gaspar Noé's "Irréversible" follows a sexual assault survivor, her boyfriend, and her former lover, all of whom set out to take revenge on the random attacker who assailed her one brutal night in Paris. Ever the provocateur, Noé's film was deemed by Roger Ebert to be "a movie so violent and cruel that most people will find it unwatchable."

Generally, "Irréversible" received mixed reviews, which tended to praise the direction and performances while criticizing the film's brutal depictions of violence. Like "Inside," it's also associated with the New French Extremity movement .

Nekromantik (1988)

Robert Schmadtke (Bernd Daktari Lorenz) is a street cleaner who specializes in gruesome accidents in this uniquely twisted horror movie. He brings a decaying corpse home for the sexual gratification of himself and his wife, Betty (Beatrice Manowski)—however, much to his dismay, she soon prefers the corpse over him. This West German exploitation horror film has garnered a cult following in the decades since its release, but its depiction of a subject as taboo as necrophilia caused it to be banned in several countries, including Iceland, Malaysia, Finland, and parts of Canada. It finally received a release in the U.K. in 2014, 26 years after it was initially banned.

Martyrs (2008)

It's impossible to talk about controversial horror films without discussing "Martyrs," a movie about a woman who escaped unimaginable abuse as a child and seeks revenge on her supposed captors: a seemingly normal, nuclear family. After slaughtering them, her friend, also a survivor of abuse, arrives to help clean up the crime scene, and the two slowly uncover a secret world of mutilation and torment.

"Martyrs" incited a number of walkouts at its premiere at the Marché du Film in 2008, and alleged vomiting in Toronto . Significant controversy followed the film in its home country of France , and while it was purchased for North American release by the now-defunct Weinstein Company, Bob Weinstein was reportedly so repulsed by it , that it went straight to DVD.

Story editing by Jaimie Etkin. Copy editing by Tim Bruns. Photo selection by Clarese Moller.

More for You

Whoopi Goldberg claims voters have 'memory issues,' slams 'stupid question' about being better off 4 years ago

A fight to protect the dignity of Michelangelo's David raises questions about freedom of expression

McDonald’s brings beloved breakfast sandwich back to select locations

New on Netflix April 2024: Ripley, Anyone But You, Scoop & More

12 Strange and Bizarre Things That Should Never Have Happened, But Did

DJ Burns an unlikely star that has powered NC State to Final Four. 'Nobody plays like him'

Olympic medalist slams transgender track athlete for competing in women's event: 'Simply cheating'

Volunteers uncover fate of thousands of Alaskans sent to Oregon mental hospital a century ago

Two Warner Bros. Discovery Directors resign from board due to Justice Department investigation

When Will The US Gen 6 Fighter Jets Enter Service?

Vampire Frenzy: 16 Addictive Series That Suck Viewers into Their World

I'm abrosexual - it took me 30 years to realise

Appeals court sides with judge who threatened Peter Navarro with contempt

17 Smells That Your Dog Can’t Stand

The 50 highest-paying jobs in America you can get without a degree

The Biggest Fish Found in U.S. Waters

‘The Sympathizer' Trailer: Robert Downey Jr. Is a Master of Disguise in HBO Spy Thriller

NATO's Hawaii Blindspot

LeBron James acknowledges he's nearing the end of his NBA career: 'I don't have much time left'

Lost cities hidden for thousands of years discovered under forest

Why Arizona (1996)

Movie details, popular music movies.

Movie Reviews

Follow Moviefone

Movie trailers.

Review: In the cryptic ‘The Shadowless Tower,’ connection is stymied by a murky past

• Show more sharing options
• Copy Link URL Copied!

Chinese director Zhang Lu’s contemporary drama “The Shadowless Tower” is a gently enigmatic character piece that resists telling you too much about its characters. Zhang’s preference is to present them to you in small moments and simple exchanges, with the idea that the oblique approach will eventually lead to what’s insightful — in this case, a brooding, middle-aged Beijing man’s acceptance of his unresolved past and possible future.

Gu Wentong (Xin Baiqing) is a divorced former poet and current restaurant critic with an endearing 6-year-old daughter everyone calls Smiley, who lives with Gu’s sister and brother-in-law. The reasoning behind that custody arrangement isn’t made clear. There’s love between the kid and her dad, and the split with Gu’s wife wasn’t acrimonious so much as due to a passion-depleting excess of mutual politeness.

But what is apparent after just a few unhurried scenes with the melancholic, chain-smoking Gu — whose mother has recently died, to boot — is that he’s hardly in a space to look after anyone, including himself. Gu’s Beijing neighborhood is known for the 13th-century Buddhist temple of the title, whose tall white pagoda is visible far and wide. The structure is famous for never creating shade. Gu, meanwhile, seems to exist only in shadows.

Why, for instance, is he so hesitant to respond to the almost comically flirtatious advances of his younger, attractive, headstrong photographer colleague Ouyang (a winningly spirited Huang Yao)? It’s not a crazy-sounding match: They enjoy talking, long walks and what a couple of drinks will do for talking and long walks. Maybe romance with an extrovert is too much for an introvert to contemplate. Also pressing on Gu: He has recently learned that the disgraced father he hasn’t seen since childhood — since his mother kicked him out of the house — is living nearby, in the seaside town of his youth.

As Gu explores that reconnection, which Ouyang becomes a part of (for reasons to do with her own emotionally fraught background), “The Shadowless Tower” settles into an easygoing grace about lives moving forward while looking back: heartfelt, but never sentimental. Just don’t expect any answers as to why people are who they are. Aided by the soft pull of Piao Songri’s cinematography, Zhang would rather you feel the ripple effect of any given moment’s moods and signals. What emerges is an unwitting communication, signs of a separation needing to be bridged.

There’s a rich quietude at work in “The Shadowless Tower,” which makes one realize how that virtue varies from filmmaker to filmmaker. In an Ingmar Bergman film, it felt imposing, heavy with portent. Chantal Akerman ’s silences were like vulnerable room tones. Zhang uses quiet to suggest an active calmness, so when a particular sound punctures the air — gurgling water, the music on a videotape, a child’s questions — it feels like the notes of life, the stuff that’s supposed to spark us.

Zhang occasionally tosses in a distant whirr like the kind you hear in sci-fi films denoting an approaching UFO. Is this a comment on the everyday strangeness of existence? Maybe. It could also just be something to keep us on our toes, alive to the rhythms around us — our own shadowless towers — that may seem ordinary, always there, unmissable and permanent, keeping us from life in the darkness.

'The Shadowless Tower'

Not rated In Mandarin Chinese and Cantonese with English subtitles Running time: 2 hours, 24 minutes Playing: Now at Laemmle Glendale

More to Read

This cut backstory explains the most intriguing relationship in Netflix’s ‘3 Body Problem’

March 25, 2024

Review: An investigator on a cold case finds isolation in an outback town called ‘Limbo’

March 21, 2024

Review: In ‘The Breaking Ice,’ a trio comes together for a stretch of wild abandon

Jan. 26, 2024

Only good movies

Get the Indie Focus newsletter, Mark Olsen's weekly guide to the world of cinema.

You may occasionally receive promotional content from the Los Angeles Times.

More From the Los Angeles Times

Entertainment & Arts

‘Godzilla x Kong: The New Empire’ smashes its way to $80 million. How it won the box office

March 31, 2024

The movies went soft on AI. ‘The Matrix’ reminds us why it’s so dangerous

Review: In ‘Wicked Little Letters,’ the shock value feels about a century too late

March 30, 2024

Review: ‘In the Land of Saints and Sinners,’ where Liam Neeson once again has his vengeance