Talk about ineptitude (among other things), this supposed homage to an actual WWI squadron perpetuates just about every conceivable cliché imaginable, furthermore effectively stealing elements from nearly every aviation flick ever devised, including Blue Max, the Dawn Patrol, Dark Blue World, the Tuskegee Airmen, and even that age-old silent flick from 1927, WINGS. Furtherome, the battle scenes themselves reflect the most cheesy elements of propaganda war flicks, culminating in the endless ranks of snarling villains, the cheering crowds on the ground below as our heroes intercept the strafing Huns to save the day, and even a veritable race against the proverbial clock to destroy a German airship before it supposedly "obliviates" the entirety of Paris.
And as of the various manners in which this film blatantly exhibits its readily apparent lack of prowess for historical and technical accuracies, let me count the ways.
For starters, let's consider the countless manners in which the on-screen aircraft repeatedly defy the laws physics. Admittedly, some reviewers have pointed out Tony Bill's part-time profession as an aerobatic pilot, which in essence appears to compromised his interpretations of World War I combat, as he seems to have derived his perception of first world war fighters from having logged too many hours in Pitts Special as opposed to having derived genuine insight into the performance capabilities and limitations of such elaborate contusions of fabric and wood. For one thing, the aircraft exhibit speeds twice in excess of the actual performance capabilities of World War I fighters, culminating in a host of physical implausibilities as overly efficient climbing characteristics as if instigated in the absence of a stall barrier, low-level maneuvers that would have invariably either stalled the aircraft or resulted in considerable wing shear, not to mention that these biplanes and Triplanes exhibit phenomenal roll-rates which no multi-winged aircraft on the planet could possibly emulate. Evidently, Tony Bill exhibits an accurate conception of three dimensional space, but not of the actual performance characteristics of World War One aircraft.
Furthermore, the movie's glaring affinity for historical inaccuracy reflects the presence of numerous aircraft that never existed during the Escardrille's 1916 escapades, including the SE.5, Handley Page 400, Gotha IV, and of course the Fokker Dr. 1 Triplane, which brings me to another issue that drives me out of my mind, culminating in one of the most trivial misconceptions about World War I aviation. Bottom line, the above depiction stems from a childish conception that by default associates World War One German aviation with countless formations of red-coated Triplanes, as if the Germans had somehow managed to perpetuate endless clones of Von Richtofen, to say nothing about the fact that the Fokker Dr. 1 was ultimately produced in insignificant numbers, culminating in an actual production run of only 160 examples.
In fact, the Lafayette Escabdrille fought the majority of its pitched-battles against outmoded Fokker E.III Eindeckers and two-seat Albatross and Aviatik observation scouts, the superior equipment of the Amercans frequently offset by their readily apparent lack of experience.
And another thing, the average life expectancy of a World War I pilot is actually confined to the space of a single week, unlike the film's more optimistic projection of 3 to 6. Furthermore, somebody should remind the screenwriters never to emphasizes the virtues of German aircraft by citing the presence of all powerful engines, as the rates of horsepower which the Germans managed to conceive lagged considerably behind that of their allied counterparts.
Furthermore, pilots were indeed NOT permitted to instill their own personal insignias, considering that, unlike World War II, pilots were rarely assigned individual aircraft, often dispersing their ranks among the types available and typically sharing planes out amongst each other. Furthermore, as depicted within the closing scene, there is simply no such thing as rejoining one's formation in the event of finalizing an aerial skirmish, as aircraft frequently fought pitched battles at length, scattering miles away from each other, thus relaying each pilot with the burden of utilizing landmarks and navigations skills as the sole means for finding their way home on an individual basis.
Reverting to the film's one and only redeeming feature, the various aspects in which the Flyboys attempts to model battle damage in conjunction with the various behaviors of shedding wings and burning engines bear a more accurate depiction than the remainder of the film. However, given the all too elaborate staging of such sequences through an over use of Green Screen techninques in conjunction with an overabundance of CGI effectively renders the overall appearance as reminiscent of, as one reviewer stated, "playing a really cool video game" as opposed to providing a genuine "in the cockpit" sensation for piloting such frail machinations.
Most offensive, however, is the gratuitous manner in which the movie concocts the entire spectacle within a fanciful dressing of glamour, all the while pedaling it's pretensions for historical and physical accuracy.
In all fairness, perhaps I should lend Tony Bill an additional bone by citing the best moment of the entire movie, in which the guts of that blabbering Christian fanatic splatters the entirety of his instrument panel.
Ultimately, the photograph at the end of the actual members of the Lafayette Escadrille seems like a cruel joke, as if the preceding spectacle of cartoonish escapism somehow culminates in an authentic tribute to the squadron in question.
Considering the shear sparsity of world war one related aviation flicks, it doesn't take a genius to brand this endeavor as by far the worst ever conceived.
For more informative and productive viewing, I can suggest virtually every other aviation flick on the market, from the veritable classics like "Blue Max" and "Aces High" , to some of the more lukewarm efforts of "Ace of Aces" and "Von Richtofen and Brown".
And as of the various manners in which this film blatantly exhibits its readily apparent lack of prowess for historical and technical accuracies, let me count the ways.
For starters, let's consider the countless manners in which the on-screen aircraft repeatedly defy the laws physics. Admittedly, some reviewers have pointed out Tony Bill's part-time profession as an aerobatic pilot, which in essence appears to compromised his interpretations of World War I combat, as he seems to have derived his perception of first world war fighters from having logged too many hours in Pitts Special as opposed to having derived genuine insight into the performance capabilities and limitations of such elaborate contusions of fabric and wood. For one thing, the aircraft exhibit speeds twice in excess of the actual performance capabilities of World War I fighters, culminating in a host of physical implausibilities as overly efficient climbing characteristics as if instigated in the absence of a stall barrier, low-level maneuvers that would have invariably either stalled the aircraft or resulted in considerable wing shear, not to mention that these biplanes and Triplanes exhibit phenomenal roll-rates which no multi-winged aircraft on the planet could possibly emulate. Evidently, Tony Bill exhibits an accurate conception of three dimensional space, but not of the actual performance characteristics of World War One aircraft.
Furthermore, the movie's glaring affinity for historical inaccuracy reflects the presence of numerous aircraft that never existed during the Escardrille's 1916 escapades, including the SE.5, Handley Page 400, Gotha IV, and of course the Fokker Dr. 1 Triplane, which brings me to another issue that drives me out of my mind, culminating in one of the most trivial misconceptions about World War I aviation. Bottom line, the above depiction stems from a childish conception that by default associates World War One German aviation with countless formations of red-coated Triplanes, as if the Germans had somehow managed to perpetuate endless clones of Von Richtofen, to say nothing about the fact that the Fokker Dr. 1 was ultimately produced in insignificant numbers, culminating in an actual production run of only 160 examples.
In fact, the Lafayette Escabdrille fought the majority of its pitched-battles against outmoded Fokker E.III Eindeckers and two-seat Albatross and Aviatik observation scouts, the superior equipment of the Amercans frequently offset by their readily apparent lack of experience.
And another thing, the average life expectancy of a World War I pilot is actually confined to the space of a single week, unlike the film's more optimistic projection of 3 to 6. Furthermore, somebody should remind the screenwriters never to emphasizes the virtues of German aircraft by citing the presence of all powerful engines, as the rates of horsepower which the Germans managed to conceive lagged considerably behind that of their allied counterparts.
Furthermore, pilots were indeed NOT permitted to instill their own personal insignias, considering that, unlike World War II, pilots were rarely assigned individual aircraft, often dispersing their ranks among the types available and typically sharing planes out amongst each other. Furthermore, as depicted within the closing scene, there is simply no such thing as rejoining one's formation in the event of finalizing an aerial skirmish, as aircraft frequently fought pitched battles at length, scattering miles away from each other, thus relaying each pilot with the burden of utilizing landmarks and navigations skills as the sole means for finding their way home on an individual basis.
Reverting to the film's one and only redeeming feature, the various aspects in which the Flyboys attempts to model battle damage in conjunction with the various behaviors of shedding wings and burning engines bear a more accurate depiction than the remainder of the film. However, given the all too elaborate staging of such sequences through an over use of Green Screen techninques in conjunction with an overabundance of CGI effectively renders the overall appearance as reminiscent of, as one reviewer stated, "playing a really cool video game" as opposed to providing a genuine "in the cockpit" sensation for piloting such frail machinations.
Most offensive, however, is the gratuitous manner in which the movie concocts the entire spectacle within a fanciful dressing of glamour, all the while pedaling it's pretensions for historical and physical accuracy.
In all fairness, perhaps I should lend Tony Bill an additional bone by citing the best moment of the entire movie, in which the guts of that blabbering Christian fanatic splatters the entirety of his instrument panel.
Ultimately, the photograph at the end of the actual members of the Lafayette Escadrille seems like a cruel joke, as if the preceding spectacle of cartoonish escapism somehow culminates in an authentic tribute to the squadron in question.
Considering the shear sparsity of world war one related aviation flicks, it doesn't take a genius to brand this endeavor as by far the worst ever conceived.
For more informative and productive viewing, I can suggest virtually every other aviation flick on the market, from the veritable classics like "Blue Max" and "Aces High" , to some of the more lukewarm efforts of "Ace of Aces" and "Von Richtofen and Brown".