Blitz showcases Steve McQueen’s flair for visual storytelling. While technically impressive, the run-of-the-mill script and underdeveloped side characters disappoint.

Director Steve McQueen is noted for films that depict emotionally intense and often harrowing subject matters. His brilliant utilization of minimalism as a means of storytelling has captivated audiences in films such as the criminally underrated Widows, and 12 Years A Slave, which won the Academy Award for Best Picture in 2014. Naturally, there was high anticipation when his latest film, Blitz, was announced. While the film is a technical achievement on multiple levels, it fails to match that energy in its often crowded and lackluster stories. 

Written and directed by McQueen, Blitz takes place in London during World War II. The setting immediately spikes interest as it is based on The Blitz, a German bombing campaign against the United Kingdom that lasted from September 1940 to May 1941. The film follows nine-year-old George (Elliott Heffernan) who is sent away from London by his mother Rita (Saoirse Ronan) to avoid the constant bombings. Longing to be back home with his family, George embarks on a journey to return home to London, despite the constant threats that he encounters. 

What follows is a film stuffed with underdeveloped characters and a script that comes off as very safe compared to McQueen’s previous works, a rather frustrating realization considering how consistently strong the technical elements are. As previously mentioned, McQueen has a distinct directing style that plays well on camera and that is no different here. His use of blocking and collaboration with the cinematographer Yorick Le Saux are quite fantastic at capturing the impact London is going through. Accompanying the stunning shots is exquisite sound work which help elevate the massive scale of the production design. Notable scenes where all of these elements culminate both feature lavish nightclubs, where it’s easy for the audience to become fully immersed into the film. 

Perhaps the most puzzling and disappointing aspect of Blitz is the script. The commercialization of the writing contrasts McQueen’s previous works. It’s easy to point fingers at a child being the film’s protagonist as the reason for its shortcomings, instead of the discombobulation of multiple plot points that often feel ignored. Truthfully, this film could have worked better as a limited series instead, with the longer runtime allowing these stories to develop and give the audience a chance to form any sort of attachment towards these characters. 

For example, Harris Dickinson is third billed, yet has maybe eight minutes of screentime. His character is set up where the audience is led to believe he will have more of an impact, particularly with Saoirse Ronan’s character, but that never happens. The only instance of emotional development of one of these side characters is with Benjamin Clementine’s Ife, a London Police Officer young George encounters on his journey back home. Here is where McQueen allows breathing room to really explore the complicated and confusing dynamics a mixed-race child being raised by a white mother in 1940s England may be feeling. The two actors have nice chemistry and their journey gives quick glimpses into the racial tensions between multiple ethnicities that were heightened at the time. Clementine’s Ife is beautifully protective over George, whose presence is felt when his very little screen time is over. It’s easy for one familiar with McQueen’s works to wonder why this emotional element of the story wasn’t the main focus of the film, as it’s easily the most effective and feels the most complete. 

There has been a lot of anticipation about Saoirse Ronan’s performance as the determined mother doing everything in her power to bring her boy back home. While Ronan, as per usual, is excellent with the material she has been given, her character Rita unfortunately suffers from the same under development as everyone else. From what we see on the screen, Ronan seems unchallenged and even underutilized. Additionally, her Irish accent occasionally slipping out while trying to maintain a British one might be distracting for many viewers familiar with her work. The one thing that does stand out about Ronan’s performance is how beautiful of a singing voice she has, and she was able to utilize her talent as an actress in those musical moments. By name recognition alone, she will undoubtedly be in the awards conversation for Best Supporting Actress, but respectfully, a win or even a nomination for this performance is not necessary. 

Ultimately, Blitz is a passable war film that doesn’t feel anything like McQueen’s previous films. Its watered-down and made-for-television script leaves the audience feeling disconnected emotionally, but the technical elements are a treat to witness on the big screen. If this film leads to more explorations of civilian life in Europe during World War II in either film or television, that may be its biggest impact.

Grade: C

Oscar Prospects:
Likely: Best Supporting Actress (Saoirse Ronan), Best Sound, Best Production Design, Best Costume Design, Best Visual Effects, Best Original Score, Best Original Song
Should Be Considered: Best Cinematography

Where to Watch: In Select Theaters Now; November 22, 2024 on AppleTV+