War For The Planet Of The Apes, the third installment of the successful reboot of the series from the sixties and seventies, could have been a bombastic conclusion to this trilogy. Instead, based on a clever script by Mark Bomback, director Matt Reeves made an intimate blockbuster. Two words that I didn’t think could ever work together.

Normally when you think of WWII movies, you think of epic movies like Saving Private Ryan. That’s why it’s fair to say that you’ve never seen one quite like Christopher Nolan’s latest. Take the opening sequence of Saving Private Ryan, up the intensity times ten and approach the whole thing with a more clinical vision. That’s Dunkirk.

Meet Baby (Ansel Elgort), a young getaway driver who is paying off a debt to crime kingpin Doc (Kevin Spacey before they were cutting him out of everything). Doc is the planner. He finds criminals like Buddy (Jon Hamm), Darling (Eiza Gonzalez) and Bats (Jamie Foxx) to execute his heists and then gets Baby as the driver. Because Baby can drive. Like French Connection style. But then Baby meets a waitress named Deborah (Lily James) and decides it is about time to get out of the life.