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This review is for the closing credits of "A House of Dynamite" on its Netflix airing. These credits have to be the most complete movie credits of any film I have watched. 12 minutes of credits, which includes the ten producers collecting a salary for this movie (whom include the screenplay writer/Harvey Weinstein buddy Noah Oppenheim). The credit roll starts with director Kathryn Bigelow and rolls to an end (appropriately enough for an open-ended movie about a nuclear missile being tracked as it targets some country) with information on the Ukrainian dubbing facility Le Doyen Studio. More effort went into the design of these fine credits, from the varying fonts to the speed of their presentation, than in the production of this movie that plays like the Seinfeld episode about nothing concerning waiting in a Chinese restaurant to be seated.

"Masterpieces Of The British Museum" is a six episode documentary on art treasures in the British Museum. Fulmar Television & Film produced this series. Fulmar was a production company best known for its "Private Life Of A Masterpiece" documentary series. Over 10 years, from 2001 to 2011, that series had 19 50 minute long individual episodes usually covering a famous painting by a great artist e.g. "Census At Bethlehem" by Pieter Bruegel. So, when Fulmar produced its British Museum series in 2006, in went the word masterpiece in the title. Fulmar folded after 2011, no more documentaries or anything for BBC, channel 4 or itv.

Its 2006 "Masterpieces Of The British Museum" is Fulmar at its peak. Four out of the six 30 minute episodes in this series are really interesting to me: The Sutton Hoo Helmet; Dürer's Rhinoceros woodblock print; the Assyrian Lion Hunt Reliefs; and the Lewis Chessmen. I think the other two episodes on artwork, on the Ife King mask and the Aztec double-headed serpent, are put in for geographic balance, to show an African and ancient Mexican art object.

The Sutton Hoo Helmet episode describes the discovery of the 7th century ship burial site England, where excavators found beneath a mound a fabulous treasure horde featuring golden objects like scarf clasps looking brand new and also the many pieces of an iron helmet that, when put together, are a window to a lost world. The Assyrian Lion Hunt Reliefs are near life-size scenes of an Assyrian ruler, the scenes carved into alabaster wall panels stretching down the walls of two facing hallways in the museum. It is a wonder that these 2,600 year old reliefs survived in such great condition. Dürer's Rhinoceros print is one of many, even though the museum has a great copy. The Lewis Chessmen episode was interesting enough for me that I bought a replica set.

If you are a culture vulture like me, the back stories on the art objects in this British Museum documentary series are real interesting. Made 20 year ago, Masterpieces Of The British Museum has not dated at all.

Dunkirk is a cobbled together bunch of scenes highlighted by one big scene, the British troops evacuating from the beach dunes. The extras in that scene are real soldiers lent to the studio at apparently no production cost except to provide free inedible lunches. Actor John Mills plays a corporal who does nothing but look grim and walk in front of his six man squad. Many of the small boat scenes are filmed on a interior studio tank, scenes that looks totally phony. Of course, being a British war movie, there are some scenes showing officers behaving gallantly or displaying superior decisiveness and brainpower. Grainy stock footage of German dive bombers is used, all looking crap. The film must have had a very limited production budge, I did not see one jeep or truck on the evacuation beach. No bicycles either.

If you want to see an authentic depiction of the Dunkirk evacuation, with no CGI, watch "Weekend at Dunkirk," a 1964 French movie filmed in great color starring Jean Paul Belmondo and Catherine Spaak that was actually filmed at the Bray Dunes in Dunkirk. Five minutes of this 1964 French movie has more cynicism about war than all of the 1958 Dunkirk.