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Okay, but

Maybe I'm missing something, but I feel like you're knocking it almost a priori for its content on the basis that Normandy battle-vets are liable to be moved by it a priori for its content. I sympathize with this prejudice to an extent: extremes too often earn quick and easy praise. Actor's who play, for example, retards almost always turn in, in my opinion, meretritious performances, while those successfully creating nuanced, three-dimensional characters get overlooked in favor of the former. So, yeah, Big Battles designate Serious and Important Work, often regardless of their real cinematic merits. But surely there will be attempts at depicting what it's like to be in the thick of battle that fail and attempts that succeed (whether the viewer was there or not). How would you have done Spielberg's Omaha Beach sequence differently from a stylistic standpoint and why? I'm curious.

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