Pressure

Rated PG-13 • Theaters

There’s a kind of film affectionately referred to in moviegoing circles as a “dad movie.” You probably know the type. You see them in the “movies for dad” section in Walmart as Father’s Day approaches. They typically take place in the Wild West, the sports arena, or some military or law enforcement setting. A husband or father typically does heroic things, but these heroic things are grounded in real adult responsibilities. No superheroes—although you might have an action hero here or there.

The new film Pressure is a quintessential “dad movie” set during World War II. It doesn’t switch up the formula, and for those looking for what it offers, it hits all the right notes in ways that are very satisfying.

From Focus Features, Pressure is based on the true story of James Stagg, the quiet meteorologist whose forecast helped shape the outcome of D-Day. Portrayed by Andrew Scott, Stagg is thrust into the role of advising Gen. Dwight D. Eisenhower, played by Brendan Fraser, on the weather for the proposed D-Day invasion. But when his findings conflict with the planned date, Stagg and Eisenhower are forced to make difficult choices that will determine the fate of thousands of servicemen and the war itself. Damian Lewis also stars as Field Marshal Bernard Montgomery.

The film hits all the expected beats for a WWII dad movie. We have husbands and fathers responsible for thousands of lives. We have men from different walks of life who butt heads. Positive values are extolled. We see men stand up for their convictions, battle evil, listen to the advice of others, and have the humility to admit when they don’t have all the answers. The female characters are wise, and they challenge and encourage the men around them without tearing down traditional gender norms. (Another reason many dad ­movies are set in this era.)

But what sets the film apart is the execution. The script is solid, and the film has stellar pacing. It slows when it needs to hold onto an emotion—like when Stagg gets a horrifying phone call—and it speeds things up when necessary—like when it’s cutting between the D-Day battle and the top brass listening for news of it. Even little choices, like the colors being deeper and richer than the typical desaturated WWII drama, add to the intensity.

The actors elevate the material even when they’re playing largely stock characters. Brendan Fraser gives both the hard-headed and thoughtful sides of Eisenhower who has to grapple with Stagg’s judgment. Kerry Condon gives exactly the strength and warmth we expect from the maternal member of the ensemble. Damian Lewis and Chris Messina both chew the scenery delightfully as Stagg’s chief antagonists. Andrew Scott is given the most to do as Stagg, and he knocks it out of the park. His Stagg possesses rock-solid confidence in his convictions, but he’s painfully shy and socially awkward when he’s around anyone other than his wife.

Pressure is a PG-13 war movie. As such, there are scenes of both battle and its aftermath. People get shot and fall to the ground, and the aftermath of a massacre is shown with numerous bodies being pulled to shore in deep red tide. Despite this scene meant to evoke blood in the water, the film is fairly bloodless. Pressure also has a modest sprinkling of profanity.

Religion plays a minor but interesting role. A pivotal scene features Eisenhower and the other military staff in church singing and listening to the preacher while Stagg stays behind outside. He initially seems to consider going inside, but he decides not to when he sees everyone else in attendance. Given that most of the people inside are hostile to him and his ideas, the scene evokes the trope of the religious, wrongheaded crowd and the wise but misunderstood and isolated secular genius. When events validate Stagg’s views a moment later, Eisenhower leaves the church in the middle of the sermon to join Stagg—further cementing that subtle trope. Later, however, Eisenhower references God and prayer in a rousing speech about D-Day.

Pressure doesn’t break the mold. Instead of subverting expectations, the film doubles down on fulfilling them well. The exceptional execution of the formula works well enough to make it an enjoyable ride. And when that ride is a celebration of virtues like courage and humility, that’s a journey worth going on—dad or not.