In “Darkest hour,” what Gary Oldman’s Churchill has to contend with in a time of war reminded me of what a newspaper editor does: tense negotiations, the reworking of sentences, an overarching need to get the message out, loudly and clearly. The real context of the story, the history, is, evidently, a very different one from this. In the early forties European countries were falling like dominoes as Hitler’s panzer division closed in
Swedish director Tomas Alfredson exploded onto the international scene in 2007 with his unsettling child vampire flick, ‘Let the Right One In.’ In that film, he took a rather implausible premise and turned it into one of the more unsettling horror films of recent memory. Pushing forward into the realm of the improbable, Alfredson unveils his surefooted adaptation of John Le Carre’s unfilmable novel “Tinker, Tailor, Soldier, Spy” (the only other adaptation