Reviewed by Lee Hill
World War Two is the safe space for a great deal of recent British film, television and theatre. Last year, Christopher Nolan’s Dunkirk and Joe Wright’s The Darkest Hour went mano a mano to prove that while our present Oxbridge brain trust in Parliament and other corridors of power may have difficulty deciding on a latte order, times were different during the Blitz. If you dash, you can also catch actor David Haig’s play Pressure in the West End, a reconstruction of the nerve-racking planning and brinkmanship that prepared Britain for D-Day. And pub bores, particularly those whose history of cinema often begins and ends with Pulp Fiction, would lose much of their material if Band of Brothers hadn’t nailed a certain type of haunted gaze/grace under pressure/male weepie to the mast.