A Private War 2021

A Private War 2021




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Celebrated war correspondent Marie Colvin is a woman who is as comfortable downing martinis with high society's elite as she is brazenly staring down warlords and fleeing from gunfire. Driven by an enduring desire to bear witness and give voice to the voiceless, Colvin charges into danger, constantly testing the limits between bravery and bravado.

R (Disturbing Violent Images|Brief Sexuality/Nudity|Language Throughout)



Biography,

War,

Drama





Basil Iwanyk ,



Marissa McMahon ,



Matthew George ,



Matthew Heineman ,



Charlize Theron





Denver and Delilah Productions,

Kamala Films,

Savvy Media Holdings,

Thunder Road Pictures







Rosamund Pike








Marie Colvin















Jamie Dornan








Paul Conroy















Tom Hollander








Sean Ryan















Stanley Tucci








Tony Shaw















Jérémie Laheurte








Remi Ochlik















Hilton McRae








Adam Watkins



























Full Review…



Cody Corrall



Chicago Reader
















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Nigel Andrews



Financial Times
















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Matthew Norman



London Evening Standard
















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Mark Kermode



Observer (UK)
















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Deborah Ross



The Spectator
















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Robbie Collin



Daily Telegraph (UK)
















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Kip Mooney



College Movie Review
















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Richard Crouse



Richard Crouse
















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Candice McMillan



KOMO News (Seattle)
















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Grant Watson



Fiction Machine
















Full Review…



James Croot



Stuff.co.nz
















Full Review…



Andrew Gaudion



THN





A Private War is gritty and raw character drama about Sunday Times journalist Marie Colvin. The film follows the last ten years of Colvin's life reporting on conflicts in Sri Lonka, Iraq, Afghanistan, and Syria, along with her struggles with PTSD and substance abuse. Rosamund Pike gives an incredible performance, really transforming herself into her character. However, the script is rather weak and doesn't do a particularly good job at getting at what drove her to do the work she did, or chose the places she did, or what made her voice unique from others. Yet while it has some weaknesses, A Private War is a powerful and provocative film about the life of a war correspondent.



Dann M



Super Reviewer


Pike is great, but the movie never coalesces around a coherent idea of who Colvin really was outside of vague ponderings about her wanting to do good and something about trauma. One feels that the real Colvin deserved something better.



Alec B



Super Reviewer


A PRIVATE WAR (3 1/2 Stars)

It's nice to see a fierce woman at the center of the familiar journalist in a war zone story, and Rosamund Pike's unsparingly aggressive performance as Marie Colvin, a BBC correspondent who lost an eye and wore a patch, makes her a "Fifth Estate Pirate" for the ages. This true portrayal of a woman whose outrage led her into deadly conflicts may seem like a lot of typing at computer screens, smoking, and fighting with editors to let her get into increasingly dangerous situations, but this urgently directed film wants to shake us out of our selfie-culture complacency and ask ourselves if we would be anywhere as ballsy and brave as Marie. Jamie Dornan surprises with an earthy, edgy performance as her photographer, reminding us that he has more than 50 shades to him. It's an imperfect film, episodic but impactful, but Pike is the real show, literally and figuratively exposing us to a woman whose imperfections were matched by her passion and heroism.



Glenn G



Super Reviewer




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A Private War honors its real-life subject with a sober appraisal of the sacrifices required of journalists on the front lines - and career-best work by Rosamund Pike.
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Arash Amel Marie Brenner (based on the Vanity Fair article "Marie Colvin's Private War" by)
IMDbrief: Golden Globes 2019 Snubs & Surprises
Rosamund Pike Still Reeling From 'A Private War'
Arash Amel Marie Brenner (based on the Vanity Fair article "Marie Colvin's Private War" by)
In a world where journalism is under attack, Marie Colvin (Rosamund Pike) is one of the most celebrated war correspondents of our time. Colvin is an utterly fearless and rebellious spirit, driven to the frontlines of conflicts across the globe to give voice to the voiceless, while constantly testing the limits between bravery and bravado. After being hit by a grenade in Sri Lanka, she wears a distinctive eye patch and is still as comfortable sipping martinis with London's elite as she is confronting dictators. Colvin sacrifices loving relationships, and over time, her personal life starts to unravel as the trauma she's witnessed takes its toll. Yet, her mission to show the true cost of war leads her -- along with renowned war photographer Paul Conroy (Jamie Dornan) -- to embark on the most dangerous assignment of their lives in the besieged Syrian city of Homs. — Aviron Pictures
Rated R for disturbing violent images, language throughout, and brief sexuality/nudity
In a piece for Harper's Bazaar dated 4 December 2018, war correspondent Janine di Giovanni , who knew Marie Colvin , writes critically of the film: "There were no good guys at the Sunday Times, where Colvin worked, who cared for her well-being. There were instead editors who wanted scoops at the expense of the safety of their reporters. Colvin had many friends in London, but none of them were similar to the Bridget Jones-style girlfriend character (portrayed by Nikki Amuka-Bird ) in the film. Her last boyfriend was not a caring and loving Stanley Tucci but rather a man who gave her immense heartache and distress. There were no 'heads on sticks' in Bosnia, as the character meant to be Colvin's first husband, Patrick Bishop, says in one of the opening scenes (heads were on sticks in Chechnya). Colvin's second husband, Juan Carlos Gumucio, is erased from the script altogether, though he played an important role in her life." Although positive about Rosamund Pike 's performance, she recommends that her readers watch the documentary Bearing Witness (2005) instead.
Colvin's smoking sometimes does not sync - holding, inhales, exhales.
Danny Boy Written by Frederick Edward Weatherly Arranged & Performed by Nig Richards
Marie Colvin was a truly courageous and inspirational person, one of the most courageous and inspirational people of her time perhaps, with a story that should be known and told more. It's one that resonated with me reading of it and despite not going through anywhere near as much as Colvin did (despite having a lifelong rough time myself) it was very easy to relate to her and root for her cause all the way. The trailer also looked great and Rosamund Pike has impressed me a number of times previous. Despite 'A Private War' being critically well received and Pike's performance being pretty much universally acclaimed, when finally released in my country it was criminally and shamefully underseen with hardly any advertising and a limited cinema release (the few cinemas that did show it had screenings at inaccessible times). Much more than this incredible woman and her story deserved and for the film to get this treatment is an injustice. Finally seeing it a few days ago, it was well worth the wait because while not perfect 'A Private War' was a powerful experience. Actually felt it treated Colvin and her story with respect and subjectively feel that some of the criticisms it's garnered here are unfair and over-the-top to the point of disrespect. 'A Private War' is not perfect. There are time jumps back and forth that can feel rather jumpy and rushed, so it's a little disjointed at times. Stanley Tucci is far too underused in a very underwritten part, Tucci plays it well and gives it a good bash but it is hard to do more with limited screen time, a sketchily developed character and some of the film's more clunky dialogue. However, 'A Private War' has a lot working in its favour. The production values are both beautiful and grittily unforgiving, with editing that really adds to the increasingly hard-hitting authenticity and a striking wide variety of camera shots that don't give the impression of being too clever or showing off, instead doing what the editing excels in. Matthew Heinemann directs with enough momentum and breathing space with no visual self-indulgence at the same time, especially good in the latter stages. The music is used in the appropriate places, recorded without being too loud and has the right amount of unsettlement. Am surprised that hardly any
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