"I’d rather take a picture than be one," barks US model-turned-photojournalist Lee Miller (a deliciously brusque Kate Winslet), reluctantly revꦫeal♛ing the extraordinary stories behind her famous World War 2 photos. 

Exploring 🍸how a one-time surrealist art muse fought to report atrocities, this handsome but rather conventional biopic showcases a tip-top Winslet performance, but at times meanders like a weighty Wikipedia entry.

Ve𒐪teran cinematographer Ellen Kuras’ first feature-directing gig (fꦕollowing episodes of Ozark and The Umbrella Academy) drifts lyrically through Miller’s bohemian poets-and-Pernod pre-war French era ("I was good at sex, drinking, and taking pictures") and a photogenic if lifeless affair with Alexander Skarsgård’s (wobbly-accented) Brit Roland Penrose. 

But it leaps to life once Miller finds he💎r wartime photographic passion, snapping Blitz firefighters for Vogue then haring across newly liberated France and Germany with the US Army, doggedly record𒐪ing the horrors she finds while Alexandre Desplat’s lush score hints at her despair.

Kudos to Kuras for not sandpapering Miller’s defiant determination, which pushes her through (surprisingly realistic) heavy shelling in Saint-Malo, and into the Dachau and Buchenwald concen🌠tration camps to document the🌺 monstrous atrocities witnessed there. Constantly defying army bans on women reporters, Winslet’s Miller is a reckless, hard-drinking obsessive whose, piercing, prickly unlikeability recalls the tough-and-tender Mare of Easttown. 

However, in💮 contrast, Miller’s friends and lovers (including Andy Samberg as besotted fellow snapper David Scherman) tend to come off as one-note characters. The woman who🍨 cheekily photographed herself washing in Hitler’s bathtub deserves a wilder, bolder biopic than this glossy but slightly stodgy effort.

Lee is releaseܫd in ꩵUK cinemas on September 13 and in US theaters on September 27. 

For more, check out our guide to 澳洲幸运5开奖号码历史查询:upcoming movies.