Film Review – Pressure (2026)

      **Pressure, 2026.

      Written and Directed by Anthony Maras.

      Starring Andrew Scott, Brendan Fraser, Kerry Condon, Chris Messina, Damian Lewis, Con O’Neill, Tamsin Topolski, Henry Ashton, Michael Benz, Wil Coban, Joshua Hill, Daniel Quinn-Toye, Sebastian Orozco, and Max Croes.**

      **SYNOPSIS:**

      In the critical 72 hours leading up to D-Day, General Dwight D. Eisenhower and Captain James Stagg face a daunting decision: initiate the most perilous seaborne invasion in history, or risk total defeat in the war.

      Despite the historical claims that writer/director Anthony Maras’ drama, Pressure, based on David Haig’s stage play, aims to present a factual account, it ultimately succumbs to overt melodrama that feels excessively desperate to assert its significance. It seems as though the play drew inspiration from Eisenhower’s suggestion that the Allies had superior meteorologists compared to the Germans, striving to amplify the drama of the strategy room’s deliberations amid the uncertain weather conditions leading to the Normandy assault.

      While the inherent theatrical elements of the story might thrive on stage, here they appear extended unnecessarily to feature length, detracting from the suspense, especially since anyone with a basic knowledge of history is aware of how D-Day concluded. Yes, fresh perspectives on World War II are important; reiterating historical events can serve as cautionary tales or draw parallels to contemporary issues. Still, the film’s portrayal of a weather forecast that allegedly changed the course of the war stretches credulity, even for the most passionate history aficionados.

      The film becomes notably more engaging when it focuses on the reserved Scottish meteorologist James Stagg (Andrew Scott), who appears out of place in the war room, providing a rational counterpoint to the chaotic atmosphere surrounding him, as he remains cautiously optimistic about the weather holding for their plans. He soon develops a rivalry with U.S. Air Force meteorologist Irving Krick (Chris Messina), who, based on extensive research, believes the weather will be clear on the invasion date. While Irving may have experience as a weatherman for significant events and films like *Gone with the Wind*, much of his success hinges on luck, as weather patterns can change unexpectedly.

      As they report to the irritable General Dwight D. Eisenhower (Brendan Fraser, who is satisfactory until the role demands he raises his voice, breaking immersion), the conflicting weather predictions from James and Irving complicate matters for a leader already suffering from PTSD due to a disastrous D-Day rehearsal. Consequently, Eisenhower orders them to collaborate and present a united front. Surrounding him is Captain Kay Summersby (Kerry Condon), whose role is largely to keep Eisenhower grounded amid the chaos.

      This setup creates several scenes where the meteorologists engage in spirited debates over their scientific analyses, which are interesting as they are grounded in research and data. However, whether this dynamic could maintain a feature-length narrative is uncertain, as Maras has added supplementary elements to give the film a sense of expansiveness that it may not warrant.

      Typically, the cinematography subtly showcases windows in the background, suggesting current sunshine while creating a blend of calmness and foreboding about the changing weather. Simply put, the film shines when it portrays the struggles of military strategists to heed the advice of the most rational person present, someone specifically brought in to offer level-headed insights. Timing is critical, yet there's a sense that they want to believe Irving out of reckless optimism.

      Unfortunately, the melodrama extends beyond Eisenhower’s personal turmoil, also involving James’ pregnant wife, Liz (Tamsin Topolski), who is due to give birth amidst communication blackouts, heightening his anxiety when he learns of impending attacks near her. It feels as if the film (and perhaps the stage play) lacks confidence that intense discussions about meteorology alone can captivate audiences, which is ironic considering James asserts the intrinsic intrigue of his profession at one point. By the time the narrative forces a reconciliation between James and Irving, ostensibly to fulfill story requirements rather than organic development, the drama feels more contrived than tense.

      One unexpected element is the film's attempt to provide a PG-13-friendly portrayal of the early D-Day operations, which some might argue is crucial to showcase the reliability of the final weather reports. However, the execution is sanitized and unengaging, resembling more of a prelude focused on James’ personal life than on the war context. Even accounting for its narrative limitations, *Pressure* seems unable to trust that discussions about weather strategies in a war room could be compelling, ultimately to its detriment.

      **Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★**

      *Robert Kojder*