Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

Jim Ruddy (ruddy_jim) This film is a solid 6/10. 3 out of 5 Stars etc...First - it is billed as a comedy-drama based on the true story of two men who go AWOL in order to invade France. Anyone who is going to be so upset by lights on in a harbour or no tape on the windows that they would rant about it for weeks probably won't like this film.Second - anyone who can enjoy a film for what it is, in this case a light comedy-drama based on bizarre true happenings, will likely enjoy this film.In true British style, Two Men Went to War, is a story of character development and plot. It is not a Hollywood block buster action flick nor a Japanese sword fest but rather a mature enduring story that is family friendly and a joy to watch.Why only 6/10 then? It could have been a little deeper for my taste and I would have liked to see some of the moral issues of the day addressed. It is definitely more light comedy than drama.A worth-while watch for those who can ignore minor historical inaccuracies like no tape on windows, lights on in a harbour and a modern shipping container that could have easily been covered in canvas.

Mnk! Two Men Went To War is a based-on-fact WW2 story about a couple of disgruntled British Army dentists who decide to 'invade' France and cause havoc among the enemy. Purloining a load of hand-grenades, the pair go AWOL and travel down to Cornwall, where they steal a boat. Setting off for France in the dead of night, the sequence of shots features the hotel where they had stayed and the harbour they were departing - all picked out with 'practical' lights blazing through the hotel's windows and other bright lights strung all around the harbour walls! This, in wartime blackout Britain, on a coastline facing enemy-occupied France, in waters regularly patrolled by German e-boats! Another commenter in this section states that the lighting was authentic in that the Cornish locals at the time figured that as they had never been attacked before, there was no reason to assume that they ever would be attacked then or in the future. However, even is this is true, the script should have made reference to this hard to believe 'fact' in dialogue, simply because the situation was so unusual and would have breached the strictly enforced wartime regulations concerning the blackout. Usually in movies, such 'blackout lighting', considering a story's authenticity, would be restricted to moonlight effect only. Another oversight in the film is the lack of anti-shatter window tapes which criss-crossed every pane of glass in Britain during the war. It's hard to believe that this glaring error went unnoticed by cast and crew. I suspect someone in authority said, 'Oh, they'll never realise," and simply let it go.

FilmFlaneur (Spoilers)Two Men Went To War is an unambitious, entertaining film, if ultimately somewhat slight. Apparently based on a true story, it is a dramatised account of a passed-over sergeant and a somewhat gormless private (from the Royal Army Dental Core, for whom "an army that can't bite, can't fight!"), who go to war on their own account in 1942. Absconding from camp, they steal a fishing boat, invade occupied France, and are lucky enough to gain some military honour before facing a court martial upon their return. Those familiar with some British WWII films of the period will quickly recognise the stereotypes: well meaning amateurs undertake derring-do in their own eccentric fashion and, against all the odds, make a success of things. Over familiar too is the national coyness towards adult relationships, as one of the two protagonists blunders in and out of two encounters with women with due virginal surprise. Replace Sergeant Peter King (Kenneth Cranham) with a Tommy Trinder or Arthur Lowe, or Private Leslie Cuthbertson (Leo Hill) with a Claude Hulbert or George Formby, and we are in the territory of The Foreman Went To France (1942) or the hugely popular antics of BBC TV series Dad's Army, which it most easily recalls. As the AWOL duo en route to France to "take Mohammed to the mountain," King and Cuthbertson make an attractive, odd-couple pairing, whose mutual contempt and distrust, turning inevitably to self-reliance and then friendship, makes up much of the film's dramatic interest. The sergeant, nicknamed 'The Kaiser' by his fellows, has a medal from the First World War (gained, it turns out, in less than heroic circumstances) and wants to do more than stay behind during the new conflict. Private Cuthbertson wishes to live up to the memory of his father and prove himself in his own eyes and in those of his family. He daydreams of valour, either being transfixed by the aircraft that overfly the backwater of his training camp or fantasising with a live hand grenade - the incident which first brings the two men together. Much of the film is well shot and the detail of the period is effectively reconstructed. There are niggling inaccuracies however: under threat of invasion place names and signs were removed throughout the UK to confuse likely enemy paratroopers, so it's very unlikely that Plymouth station would be conveniently indicated as here. Equally unbelievable, at a time when the blackout was mandatory, is the well-lit harbour that the two soldiers sail out of when attempting their channel crossing. Least convincing of all is the evident ease in which they arrive and leave the French coast: completely unchallenged, and stepping through light barbed wire - as if mines and fortifications of any sort had not been invented. Composer Jonathan Harvey provides a score that contains both original elements and from such period acts as Flannigan and Allen. This is well done, making the film seem richer than it is - although this viewer at least felt that the heavy handed use of Elgar during the final attack was a step too far, the blaring patriotism threatening a descent into bathos. Parallel to the unorthodox expedition by our two heroes are the preparations back in London for the start of the African campaign by Churchill and his advisors. While the two amateurs are seen as active, ambitious and enthusiastic, the military professionals in the War Rooms are shown perpetually planning and gloomy. The lethargy of those bigwigs in the know is in contrast to the get-up-and-go of those who don't know any better, the one by implication commenting on the other. By the end of the film Churchill, and presumably, via his uplifting, that of the whole war effort, has been saved from a fit of depression by the actions of the two rogue soldiers. The characteristically excellent Derek Jacobi steals the show as Churchill's top intelligence officer while, as the leader himself; David Ryall does a passable impersonation. One suspects that this small scale, likeable film will be better received in other countries than in the UK (where critical response was limited and fairly dismissive) as its gentle eccentricities can be charming. The events it portrays and the gentle irony employed are far from those in the typical Hollywood blockbuster, while its modest proceedings mean that it looks better on the small screen than the large. At the end of the day, it's a plot that needed a greater sense of absurdity and real danger than was the case here, although it remains consistently watchable. At least it's not another dismal British gangster picture...

rosie-42 What an unexpected delight is this true-ish wartime tale of two army dentists determined to do something for the war effort. A grizzled WW1 Sergeant and callow private go AWOL, heading for Cornwall and then to France armed with a rucksack of grenades, a couple of pistols and the odd dental tool. Possessing a comic lightness of touch rarely seen in Britain since the halcyon days of the Ealing comedies, this wonderful tale of British eccentricity is hilariously funny mainly because it never goes for the obvious laugh. Realisitic enough that the adventure is frequently nerve-wracking, with a splendid plot that constantly wrongfoots your guesses, the mismatched comic pair of Kenneth Cranham and Leo Bill work brilliantly. Filmed in vibrant colours so rarely seen in a British film, the movie succeeds way beyond its modest ambitions. It's the rare sort of film that banishes the blues and puts you in a good mood that lasts for ages afterwards. What more can you ask from a film than that?