The ‘Ungentlemanly Ministry of War’ could use more brains to go with all its might

The ‘Ungentlemanly Ministry of War’ could use more brains to go with all its might

As war movies go, “The Ministry of Ungentlemanly Warfare” ends up in no man’s land, layering elements of “Mission: Impossible,” “Inglourious Basterds” and Guy Ritchie’s brand of violent action comedy over the bones of a compelling World War II true story. . The underwritten, somewhat messy results are generally entertaining if not entirely seaworthy from a dramatic standpoint.

Given that Henry Cavill (having entered his spy phase, between this and “Argylle”) and Alan Ritchson (“Reacher”) bring their massive powers to the festival, it’s somewhat ironic how thin and fleshless the characters are. While Ritchie may be in a rush to get into the action, it comes at the expense of investment in individuals beyond the gruesome nature of the plot.

The plot involves a secret version of a nascent special operations force – authorized by Winston Churchill himself (an uncredited Rory Kinnear) – a real group whose existence remained classified for decades before being detailed in a 2014 book. Adding a pinch of “The Dirty Dozen,” the squad that operates under the leadership of a badass agent, Gus March-Phillipps Cavill, who had to break out of a military prison to lead the group.

Known as Operation Post Commander, the mission played a key role in the war effort, seeking to sideline the supply chain that equipped German U-boats, knowing that the presence of submarines in the Atlantic had, among other things, helped keep the US out of the war. Specifically, March-Phillipps and company were tasked with blowing up supply ships in need against overwhelming odds, understanding that the British government would reject them, and that the Germans would torture and kill them.

The central quintet (completed by Henry Golding of “Crazy Rich Asians,” Hero Fiennes Tiffin and Alex Pettyfer) also receives logistical help from a female spy (“3 Body Problem” star Eiza González) tasked with seducing and distracting the German commander ( “ Basterd'” Til Schweiger) and a shrewd businessman (Babs Olusanmokun) who operate out of port, on the Spanish island of Fernando Po, where the boat docks.

From the opening sequence, Ritchie (who previously collaborated with Cavill on “The Man From U.N.C.L.E”) works from the well-founded theory that the cathartic act of killing Nazis during World War II needs no explanation. In keeping with the long tradition of films built around dangerous wartime assignments (“The Guns of Navarone” also comes to mind), the best shows never follow the script and inevitably need improvisation.

However, the desire to adapt the film to fit producer Jerry Bruckheimer’s blockbuster filmography and Ritchie’s kinetic style continued to drag it in that direction and away from the turmoil that would have strengthened its historical foundation. The closing frame gives a clearer picture of them, in a way that only heightens the desire of Ritchie and his scripting partners to cut back on embellishment.

Those who choose to be able to enjoy this film purely because of its red-carpet-friendly cast and combination of caper muscle with check-the-brain-at-the-door action. Even so, more brains to go with it all would improve things significantly, and maybe even make these gentlemen (and ladies) operators look a little more special.