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We Go in at Dawn Reviews

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We Go in at Dawn (2020)

Directed by ben mole.

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Six days before D-DAY, Victor Lawrence, one of the most senior planners of the Normandy landings, is shot down over France.

Captured by the Nazis, he is detained in a holding camp under a false identity. The clock is ticking. When the Nazis discover who he really is, they will torture him and learn of the plan for the invasion of Europe.

John Seabourne, a British special forces operative, is given the mission to parachute into France, hook up with local French resistance and bust Victor out.

Seabourne and French resistance fighter, Ellie, break into the camp. But Victor refuses to be rescued, convinced he should lie low until the invasion is underway. Knowing a Nazi commander who will recognise Victor is due at the camp any day, Seaborne must kill Victor to ensure his knowledge won’t get into enemy hands, unless he can find a way to pull off a dramatic rescue - of Victor and all the other prisoners held in the camp.

The stage is set for a showdown that will ultimately decide the outcome of WW2. The fate of millions will come down to the choices and actions of our three heroes in their darkest hour.

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We Go in at Dawn

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• Kelvin Fletcher

• Audrey L'Ebrellec

• Nicholas Benjamin
• Guy Faulkner
• Nick Harris
• Tim Berrington
• Mick Beirne
• Alastair Kirton
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• Movie - We Go in at Dawn - 2020

We Go in at Dawn  (2020)  سنهجم في الفجر

• Release Date: 7 April 2020 (US) (more)
• Genre: War (more)

Special Forces Officer John Seabourne is assigned to rescue Victor Lawrence, a senior war planner who has been held captive in a German POW camp, only for John to be stunned by Victor's decision.

• Ben Mole (Director)
• Ben Mole ()
• Kelvin Fletcher
• Christos Lawton
• Audrey L'Ebrellec
• Tim Berrington
• Nick Harris

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• Hameed Helw
• 2021 - Series

• Liam Gayfer
• Fabio Goutet
• Eleanor Grace

• Samantha Coughlan
• Alastair Kirton
• Guy Faulkner

Special Forces Officer John Seabourne is assigned to rescue Victor Lawrence, a senior war planner who has been held captive in a German POW camp, only for John to be stunned by ...Read more Victor's decision.

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We Go in at Dawn

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• 1 hr 25 min
• 3.5   (397)

We Go in at Dawn is a 2020 war-drama movie directed by Ben Mole, starring Kelvin Fletcher, Christos Lawton, and Audrey L'Ebrellec. It tells the story of a group of British soldiers who are sent on a secret mission during World War II to rescue an important Allied scientist from Nazi-occupied France. The movie takes place in 1944, when the Allies are preparing for the invasion of Normandy. The top brass in London receives intelligence indicating that the Germans are working on a secret weapon that could turn the tide of the war. The Allies believe that the only way to counter this threat is to retrieve an Allied scientist, who is being held captive in a German-occupied chateau in rural France.

To accomplish this mission, a team of seven specially-trained soldiers is assembled. Laced with explosives, they parachute into France under the cover of darkness and begin their perilous journey through enemy territory. With the Nazis hot on their trail, they come under attack multiple times, and the team is forced to fight for their survival.

The central character of the movie is Tom, played by Kelvin Fletcher. Tom is a former farmer turned explosives expert, and he is the one who is responsible for ensuring that their mission is successful. However, he is also haunted by the loss of his brother, who was killed earlier in the war, and he struggles to keep his emotions in check as the mission becomes increasingly dangerous.

The other members of the team include Sergeant Vic, who is played by Christos Lawton, and a French Resistance fighter named Madeleine, who is played by Audrey L'Ebrellec. Sergeant Vic, a veteran of the North African campaign, is the de facto leader of the team, and he is determined to see the mission through to the end. Madeleine, on the other hand, has her own reasons for wanting to help the Allies, and she proves to be a valuable asset to the team.

As the team progresses towards the chateau, they encounter a number of obstacles, including German soldiers, landmines, and booby-trapped buildings. The tension builds as they get closer to their objective, and it becomes clear that there are traitors among them who could jeopardize the mission's success.

Throughout the movie, the sound design and cinematography are excellent. The sound of gunfire and explosions is immersive, and the camera work is used to great effect to create a sense of claustrophobia and tension. The actors all give solid performances, and the script is suspenseful and engaging.

The movie is not without its flaws, however. Some of the dialogue is a bit clunky, and some of the characters are not given much depth. Additionally, some of the action sequences are a bit confusing, and it can be difficult to keep track of who is shooting at whom.

Overall, though, We Go in at Dawn is a solid war-drama movie that effectively captures the tension and danger of a secret military mission behind enemy lines. It is a movie that should appeal to fans of the genre, as well as anyone who has an interest in World War II history.

• Genres History War Thriller
• Cast Kelvin Fletcher Christos Lawton Audrey L'Ebrellec
• Director Ben Mole
• Release Date 2020
• Runtime 1 hr 25 min
• Language English
• IMDB Rating 3.5   (397)

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We Go In At Dawn

• 1 hr 25 mins

When a high-ranking war planner is captured and held in a German prisoner of war camp, a team of specialists take on the dangerous mission of trying to break him out. Trouble is, he doesn't want to be rescued.

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Kelvin Fletcher

John seabourne, christos lawton, victor lawrence, audrey l'ebrellec, ellie belrose, latest news see all, trailers & videos.

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We Go in at Dawn (2020)

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We Go in at Dawn - watch online: streaming, buy or rent

Currently you are able to watch "We Go in at Dawn" streaming on Amazon Prime Video, Amazon Prime Video with Ads. It is also possible to buy "We Go in at Dawn" on Apple TV, Amazon Video, Sky Store as download or rent it on Apple TV, Amazon Video, Sky Store online.

When a high-ranking war planner is captured and held in a German prisoner of war camp, a team of specialists take on the dangerous mission of trying to break him out. Trouble is, he doesn't want to be rescued.

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Where does We Go in at Dawn rank today? The JustWatch Daily Streaming Charts are calculated by user activity within the last 24 hours. This includes clicking on a streaming offer, adding a title to a watchlist, and marking a title as 'seen'. This includes data from ~1.3 million movie & TV show fans per day.

We Go in at Dawn is 11942 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 12817 places since yesterday. In the United Kingdom, it is currently more popular than Seaspiracy but less popular than Make Me a Match.

Streaming charts last updated: 01:17:38, 25/09/2024

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Movie Review: Native sports drama ‘Rez Ball’ follows formula but wins out with heart and poignancy

A scrappy young underdog team must find a way to unite and win that big championship

A scrappy young team of underdogs — in both sports and life — must find a way to unite and win that big championship. Can they do it? How many times have we seen that story, and who among us couldn’t write the ending right now?

That may be just what you’re thinking as you settle into “Rez Ball,” the latest entry in the canon of inspirational youth sports movies, and the sub-canon of inspirational youth basketball movies. And yes, there’s a lot you can predict from the outset, not to mention lines you could have pre-written, word for word.

But that doesn’t mean your heart won’t be caught up in this deeply felt, poignantly told story from Navajo country, especially when the last player takes that last shot in those final seconds — never mind some heavy-handed moments. And it bears mentioning that the basketball pedigree is unimpeachable here, with none other than LeBron James producing.

So many movies begin promisingly and fail to stick the landing. “Rez Ball,” directed by Navajo filmmaker Sydney Freeland (the title is shorthand for "reservation ball”) is quite the opposite, a movie whose ending lifts the rest of the film up with it.

Indeed, there’s a palpable sense of fresh energy — visual, and emotional — the minute our underdog team, the Warriors from the fictional town of Chuska, New Mexico, arrives at the state championships in Albuquerque. But let’s not get ahead of ourselves.

Freeland and co-writer Sterlin Harjo, their script inspired by Michael Powell’s book “Canyon Dreams,” begin with a flashback. Young boys Nataanii and Jimmy are playing basketball in happier times. We move to their high school years. They're both skilled players — especially Nataanii, whose height, grace and speed have made him a local hero.

But life has taken a dark turn. Nataanii (Kusem Goodwind) sat out the previous season because of the deaths of his mother and sister at the hands of a drunken driver, a tragic but not uncommon occurrence in the community. But despite falling into depression, Nataanii has returned for the new season.

The team’s coach, Heather (Jessica Matten), is a former WNBA player who grew up locally and has her own complicated history, as does Jimmy’s mother, Gloria, a former high school star who fell on hard times.

Trouble rears its head in only the second game, against Santa Fe Catholic, a cocky team that crushes the Warriors. Much worse is the fact that Nataanii hasn’t shown up and nobody’s heard from him. After the game, the team is delivered devastating news that threatens their ability to continue.

And it puts the pressure squarely on Jimmy, now the captain. Gradually, they coalesce into a workable unit. In an early team-building exercise, coach Heather tasks the boys with herding some escaped sheep on her grandmother’s land. She also engages an assistant coach who puts an emphasis on Navajo spiritual traditions. Under Jimmy, the team also embraces the clever idea of calling their plays in Navajo, to thwart their rivals.

Things go well but then fall apart, on court and off, at a critical moment in the season. And though the team makes it to state playoffs at the famous “Pit” — the 15,000-seat university arena in Albuquerque — there’s a real question as to “which” Chuska Warriors will show up.

It’s a moment of truth for Jimmy — played by the appealing Kauchani Bratt (nephew of Benjamin) — who must not only rally his team, but triumph over the pessimism his bitter mother imparts to him, especially about basketball. Gloria (Julia Jones) tells him she doesn’t come to his games because she doesn’t want to see him fail. Another gem from Mom: “The higher you go, the greater the fall.”

Such lines would land with more authenticity if Gloria had been given a deeper backstory. The off-court life of Heather, too, is given cursory treatment. Two appealing girlfriend characters also get short shrift. The filmmakers clearly have one focus, which is to impart drama through basketball. And the game scenes are the best ones, with director Freeland, cinematographer Kira Kelly and a cast of newcomers — not to mention a basketball choreographer — joining to produce some exciting on-court moments.

Luckily, Bratt inhabits Jimmy with charm and ease. (A Native performer with varsity basketball experience, he and other actors had to prove their ball skills before being cast.) And so it comes down to Jimmy, at the end, with his hand on the ball at that crucial moment.

We won’t tell you what happens. And even if you’re sure you know, is that really the point?

“Rez Ball,” a Netflix release, has been rated rated PG-13 by the Motion Picture Association “for thematic elements including suicide, teen drug/alcohol use, language and some crude references.” Running time: 111 minutes. Two and a half stars out of four.

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The 4:30 Movie Review

In another world, The 4:30 Movie might have been named ‘Movierats’. Kevin Smith has long told tales of New Jersey kids simply hanging out, be it at the local shop ( Clerks ), the local fast-food restaurant ( Clerks II ), or the local mall ( Mallrats ). Here, he takes that template and applies it to the local multiplex — what better love-letter to cinema than a film set almost entirely at the cinema? And more specifically, the cinema of Smith’s own youth, which he now owns and operates as Smodcastle Cinemas in Atlantic Highlands, NJ? Disappointingly, for all the promise in the premise, it rarely projects in quite the way you’d hope.

In typical Smith style, this is very much a story from the heart, remixing personal experience in cinematic form — lead character Brian David (a charming and engaging Austin Zajur) is a clear Kevin Smith stand-in, a deeply nerdy kid with a passion for cinema, hoping to sneak into an R-rated movie with his crush Melody Barnegat (Siena Agudong), if his loudmouthed friends don’t get them banned first. It starts promisingly. The extended opening scene — a phone conversation between Brian David and Melody where they establish their date plans to attend “the 4:30[pm] movie” together — is sweetly handled, with endearing performances from the two young lovers, all doused in syrupy ’80s sax. That sincerity continues into the cinematography — simplistic, but drinking in all the small-town New Jersey scenery with genuine affection.

The central portion of the film underwhelms — all the more frustrating when the sweetness returns in the final 15 minutes.

It's a shame, then, that the film comes to a screeching halt once Brian David and co. make it to the movies. The aimless narrative never feels as scrappily charming as it did in Mallrats ; the observations of multiplex etiquette rarely as sharp as the customer-baiting in Clerks . Nicholas Cirillo overdoes it in asshole mode as brash pal Burny, while Reed Northrup’s underwritten Belly is little more than a ginger rat-tail hairdo in search of a character. And as with 2022’s Clerks III , the comedy largely falls flat: while Smith has fun delivering fake trailers (one casts his own daughter in a nunsploitation movie) and imagined blockbuster ‘Astro Blaster And The Beaver Men’ (yes, there are plenty of ‘beaver’ jokes), the results are thin. The comic potential of our heroes sneaking in and out of movies, evading the manager (a one-note Ken Jeong), and getting up to no good feels largely unfulfilled. When the regular Smith roster appears —Justin Long, Jason Lee, Brian O’Halloran, Rosario Dawson, Jeff Anderson, Jason Biggs, and of course Jason Mewes — their screentime feels like a distraction from time spent with our central trio.

As a result, the central portion of the film underwhelms — all the more frustrating when the sweetness returns in the final 15 minutes. Smith’s ode to cinemagoing transforms into a self-portrait of the artist as a young man, before going full circle into romcom mode again. Those moments are far more satisfying than the screen-hopping comedy that precedes it. This being a Kevin Smith film, there’s still a handful of funny lines (“Burny’s having sex during the movie. The guy has no respect for cinema!”). But even at a slight 77 minutes for the main feature, The 4:30 Movie still feels sluggish. Roll credits.

We Go in at Dawn (2020)

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'Don't Let's Go to the Dogs Tonight' Review: A Gritty Adaptation With a Knockout Child Performance | TIFF 2024

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2024 has been a year rich with a multitude of book-to-film adaptations, including titles such as It Ends with Us , Dune: Part 2 , and The Life of Chuck , to name a few successes, (not to mention the infamous Argylle ). Another adaptation has hit the fall festivals before the year is up, this time by writer/director and actress, Embeth Davidtz . Don’t Let’s Go to the Dogs Tonight premiered at the Telluride Film Festival and later had its Canadian premiere at the Toronto International Film Festival. The film is the Schindler’s List actress’ feature directorial debut, and the memoir it’s based on has some striking similarities to Davidtz’s own youth.

What Is 'Don't Let's Go to the Dogs Tonight' About?

Modeled off of a 2001 memoir of the same name by Alexandra Fuller , the film documents her childhood growing up in colonized Southern Africa during the Rhodesian Bush War. This war would eventually turn Rhodesia into Zimbabwe, and Fuller lived in Burma Valley, the center of it all. Fuller was around six years of age, running amok on her parent’s quaint farm, among the African locals and critters in the bush. All the while, the 1980 election neared, which would ultimately mark the end of white rule as Zimbabwe would gain its independence. This meant immense changes for Fuller’s family, though she didn’t understand the stakes at such a young age.

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In the film Don’t Let’s Go to the Dogs Tonight, the near-feral eight-year-old Bobo, portrayed by Lexi Venter , is obviously inspired by Fuller as a child. Bobo is a product of her environment and a blend of those around her who are raising her — notably, her eccentric parents and their local hired help, Sarah ( Zikhona Bali ). Bobo is naive yet insightful, inquisitive though foolish. She innocently regurgitates derogatory things about the local Africans while balancing a lit cigarette between her small fingers, holding no concept of the hurtful meaning behind her words. Her parents, portrayed by the somewhat negligent and rowdy Embeth Davidtz and Rob van Vuuren , are a bit too preoccupied with military routines and indulging in alcohol to parent their children to any proper extent. So in steps Sarah, the help, to fill this void, and one whom Bobo adores dearly, despite Sarah being an African native.

Don’t Let’s Go to the Dogs Tonight is a lovely film to lay eyes upon . There is an organic feel to Willie Nel’s tangible cinematography, as he captures both the beauty of the African bush and the unsightliness of Bobo’s dilapidated, ramshackle home with a unique touch. As the film is widely from a child’s point of view, the camera reflects this perspective, flitting around and following after Bobo on her dirt bike, up a tree, or as she dashes under a table with her dogs. The camera is akin to a playmate trying their best to keep up, and the audience is privy to peer through the eyes of this fabricated friend.

'Don't Let's Go to the Dogs Tonight' Features a Fantastic Child Performance by Lexi Venter

Davidtz, with her feature directorial debut, uses the intimate film to show off her skills as a director with quite a bit of merit. She assembles quite a melancholic story, exhibiting quite a bit of control and vision throughout the film with her close work on the project. Davidtz’s directing is bounds more impressive than her performance, which is serviceable though excessive. She plays more of a caricature at times than a believable farmwife and mother of the late 70s in Rhodesia. The show-stealing performance, however, comes in the form of young Lexi Venter, who plays Bobo. Venter gives one of the most impressive child performances in recent memory, showing remarkable maturity and vast range throughout her work. Her eye acting and facial expressions are as authentic as they come, and she seems to have a surprisingly intelligent grasp of the subject matter. Bobo's inner monologue musings are as insightful as they are hilarious, but more often than not, she is a stark contrast of innocence against the backdrop of a war she should not even be around to witness.

The gritty, layered premise of such a story being told from the perspective of a child is undoubtedly interesting, but the limited viewpoint brings forth questionable narratives. There are a handful of lost plot points, potential setups that dissolve into nothingness, and many an issue or conflict that is simply introduced, only to never be addressed again. Not to mention the delicate subject matter and dicey material that doesn’t ever seem to get the respect it deserves, as this is ultimately a White perspective story told within the pages of African history. Don’t Let’s Go to the Dogs Tonight is a fascinating indie flick with enough pull to find its audience. Davidtz does well enough with her first feature, and the story, along with Venter’s incredible performance, is more than enough to pique the audience’s interest enough to perhaps pick up the memoir.

Don't Let's Go to the Dogs Tonight

Don’t Let’s Go to the Dogs Tonight is a gritty vignette of life during the Rhodesian civil war from the point of view of a child, based on the memoir by Alexandra Fuller.

• The lead child performance by Lexi Venter as Bobo is as striking as it is impressive ? she carries the film with her maturity and range.
• The technicals are skillful, with stunning cinematography and an impressive directorial debut from Davidtz, making the film quite atmospheric.
• The meandering plot stumbles at times, becoming convoluted and forgetting to tie up loose ends and plot points.

A white Zimbabwean family grapples with their existence in post-war Rhodesia, dealing with political turmoil and their attachment to the land. This drama captures the family's internal conflicts and relationships against a backdrop of significant historical change.

Don't Let's Go to the Dogs Tonight had its premiere at the Telluride Film Festival.

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