Your view of the protagonist's view is not frightening, but heartening. It's good to go off script, especially in a way that adheres to formula.
Dunkirk turns war movie tropes inside out to articulate a broader theme, not only the truism that war is excruciating, but more profoundly, that war is always the same, that it repeats, that it cannot be won.
Lowery's movie transforms all manner of ordinary actions into weird little bits, most often offered in long takes and long distances, immobile images or slow frame movements.
The Beguiled evokes a very persistent past from the American Civil War. A past that, as William Faulkner famously reminds us, isn't even past.
Sally Hawkins lifts her complex role with a graceful energy, helped by Maudie's visual approach, which is sometimes delicately impressionistic and sometimes more artisanal.
Megan Leavey is not interested in the Iraq war as such. What it offers instead is the story of her journey, heartfelt and well-acted, but never surprising.
The film traces loss and what comes after, the process of acceding to pain and encountering fears and anguish, and the implacable order of hospitals.