In this episode of Rosie the Reviewer, we discuss Taking Sides (2001), a postwar drama built around a single, unresolved question: can you separate the art from the artist?

Set during the Allied denazification of Germany, the film centres on the interrogation of celebrated conductor Wilhelm Furtwängler, who insists that his art existed above politics. His American interrogator argues the opposite: that cultural figures who remained visible under the Nazi regime cannot claim neutrality.

Our conversation focuses on complicity and whether art can be “apolitical” under fascism, as we try to determine whether the film truly challenges its subject.

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In this episode of Rosie the Reviewer, we discuss Hart’s War (2002), directed by Gregory Hoblit and based on the novel by John Katzenbach. Set inside a German POW camp during the final months of World War II, the film is about a racially charged court martial involving a Tuskegee Airman, with a young American officer forced into the role of defence lawyer.
War movie or courtroom drama? This one is a bit of both. The film attempts to address questions of racism within the US military, but we're not sure it tries hard enough. Based on a book, it diverges sharply from its source material. As usual, Sam gives you the best bits from the book.
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In this episode of Rosie the Reviewer, we discuss Ice Cold in Alex (1958), directed by J. Lee Thompson and based on the 1957 novel by Christopher Landon. Set during the North African campaign of World War II, the film follows a British officer, his NCO, two nurses, and a mysterious South African hitchhiker as they attempt to reach Alexandria in a battered ambulance.

It's a tense adventure film, with the desert as the main antagonist and an ambulance that feels like a character rather than a vehicle. And of course, the film has a famous promise: an ice‑cold beer waiting at the end of the road.

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