Come What May

The great Ennio Morricone, still going strong at 87, wrote the marvelous film score.

With its old-fashioned gloss, the incident-packed story proves only mildly engaging and finally has little to say.

The best thing about the movie is Matthew Rhys.

Director Christian Carion’s first feature since 2009’s “Farewell” is bolstered by a sweeping Ennio Morricone score, yet his narrative is too episodic, and his characters too one-dimensional, to carry the weight of grand historical tragedy, resulting in a picturesque, middle-of-the-road effort.

It’s an impressive backdrop to what’s otherwise a polished period piece without much of a bite to it, hitting all the right notes but doing nothing that feels exciting or out of the ordinary.

Come What May over-romanticizes the horrific, forced French exodus.

Christian Carion's film shamelessly wrings excitement from the recreation of violent ideological conflict.