Guy Ritchie’s latest World War II-themed action movie, “The Ministry of Ungentlemanly Warfare,” challenges the viewers to not just suspend their historical disbelief but to completely throw period accuracy out the window. Claiming to be based on the true events of Operation Postmaster—a secret, unauthorized, and perilous mission—the film skillfully treads the line between comedy and catastrophe, delivering more than what one might expect from such a precarious premise.
The essence of the covert mission is straightforward: destroy Nazi supply ships that service U-boats to pave the way for American intervention, thereby saving Britain from the tightening grip of the Third Reich. It revolves around a real-life British commando raid where a group of courageous operatives managed to seize Axis ships right under the noses of their Nazi guards, all of this carried out on the tranquil Spanish island of Fernando Po. This daring nocturnal heist, executed by a team lacking sophisticated weaponry but brimming with audacity, is transformed into a cinematic spectacle under Ritchie’s direction.
Ritchie eschews the somber tone often associated with World War II films, instead using the era as a backdrop for his trademark blend of high-speed action sequences and brisk, sharp dialogue. At the film’s heart is Henry Cavill’s charismatic portrayal of Gus March-Phillipps, a bewhiskered and swashbuckling Brit seemingly plucked from the chaotic scenes of “The Dirty Dozen.” Cavill’s introduction, paradoxically stoic and witty, showcases him shackled but sipping brandy, perfectly encapsulating Ritchie’s love for unconventional and quick-witted antiheroes.
Constructed with an irreverent flair, “The Ministry of Ungentlemanly Warfare” thrives on its absurdities. The narrative is populated with a supporting cast that seems inspired more by comic books than actual historical records. Alan Ritchson plays the obligatory muscle-bound Scandinavian, whose kill count overshadows even that of Jack Reacher. Henry Golding portrays a pyromaniac whose only objective seems to be initiating fiery chaos, and Eiza González steps into the role of a seductive spy whose talents feel underutilized, as though she belongs in a James Bond adventure.
If Quentin Tarantino’s “Inglourious Basterds” offered a reimagined revenge fantasy against the Nazis, Ritchie’s interpretation is a more exaggerated satire of wartime heroics.
. Nazis in this universe are essentially reduced to mere targets for the film’s ensemble of Allied renegades. These enemies, depicted like non-playable characters in a video game, are dispatched with a variety of weapons, including bullets, arrows, switchblades, and even axes, all executed with a near laughable over-the-top accuracy reminiscent of a “Call of Duty” game. The moral landscape in this film is straightforward—the bad guys are unequivocally evil, and our protagonists remain untroubled by the complexities of real warfare, protected more by narrative convenience than by any semblance of historical truth.
Til Schweiger’s portrayal of the main antagonist, Heinrich Luhr, falls short of expectations. Unlike Christoph Waltz’s Oscar-winning depiction of Hans Landa, which was a masterful blend of charm and malevolence, Luhr comes across as a lackluster villain—a mere caricature lacking the depth that made Landa so memorable.
The film also features historical figures reimagined through Ritchie’s unique lens. Freddie Fox plays a pre-James Bond Ian Fleming, and Rory Kinnear depicts M (yes, that M), though their roles seem to serve more as nods to the audience rather than fully fleshed-out characters. The jaunty soundtrack reminiscent of Ennio Morricone’s iconic motifs sometimes feels at odds with the intense action sequences, detracting from any real sense of danger.
Eiza González in ‘The Ministry of Ungentlemanly Warfare’
Despite its flaws, “The Ministry of Ungentlemanly Warfare” is undeniably entertaining—a quintessential popcorn flick meant to be enjoyed with friends, rife with moments that invite laughter for its bold disregard of conventions. Cavill and his co-actors elevate the bravado, consistently delivering impeccably choreographed, larger-than-life action scenes that highlight Ritchie’s knack for cinematic spectacle.
While historical dramas akin to “The Guns of Navarone” often grapple with their own gravity, Ritchie’s carefree approach injects a refreshing irreverence into the genre. By vigorously shunning the sacrosanct, “The Ministry of Ungentlemanly Warfare” serves as a raucous reminder that surrendering to unabashed fun is not only allowed but encouraged—unless, of course, you are a Nazi or a historian.
“The Ministry of Ungentlemanly Warfare” is currently available for streaming on Amazon Prime Video.
