Originally published to 8 News Now on April 19, 2024.

The Ministry of Ungentlemanly Warfare is just the latest in a long line of World War II-based action movies and one that relies mainly on its actors and filmmaker Guy Ritchie’s style rather than a strong script to get by. It does so to varying degrees of success.

As Ungentlemanly Warfare begins, we’re introduced to the film’s cast of characters, which is the strongest element of Ritchie’s flick. At this point, the filmmaker’s style is essentially a character in most of his films, and Ungentlemanly Warfare is no exception. Cavill executes his role with charm and swagger. Alan Ritchson, fresh off season two of his titular role in Reacher, is a highlight. As is the excellent Eiza Gonzalez, who is certainly a stand out. 

After a dynamic introduction, “Ungentlemanly Warfare” drifts through its second act, listlessly putting the pieces in place for its conclusion, when the drama and action are again punched up. Indeed, the doughy, slightly undercooked middle bits lead to viewer malaise. However, in the end, the film makes good on its first-act promise with an exciting, charming finale. Truly, the cast puts this movie on their back, carrying it across the finish line.

Much will be made of the similarities between “The Ministry of Ungentlemanly Warfare” and Tarantino’s “Inglourious Basterds.” The comparison is not unfounded, as many elements in the latter are vaguely mirrored in the former. However, it is not a one-for-one copy, and there is no good reason viewers cannot enjoy both films. Another publicized element of “Warfare” is that the film is focused roughly on the real-life person on which writer Ian Flemming based James Bond, so much so that Flemming makes a brief cameo in the movie. However, don’t expect much from the Bond ties, as it is more of an easter egg than a plot point.

“Ungentlemanly Warfare” is a stylish, fun time at the cinema. When the action hits, it hits hard. Though the film meanders a little in the middle bits, its finale satisfies, providing an enjoyable respite from the current deluge of self-important Hollywood fare. With a solid cast and that Guy Ritchie flair, this World War II flick doesn’t break much new ground — and doesn’t need to.