The prospect of a biopic of a figure as significant and multi-layered as Winston Churchill seems a somewhat daunting proposition, but any such apprehensions have been eased to learn that Jonathan Teplitzky endeavour is set mostly across just one single day. Taking one brief moment in the leader’s time as Prime Minister to use as a catalyst to explore his entire reign; using this day as a window into this man’s life, learning of his personality, his passion and his stubbornness.

Handpicking any single day during the Second World War would make for fascinating cinematic stomping ground – but few quite as dramatically charged as the 24 hours leading up to D-Day. It’s June 1944, and while plans are in place for the British army to liberate Europe from its Nazi occupation, there is still one man who needs convincing; Winston Churchill (Brian Cox). Unfortunately for the Americans, all set and ready to go – the PM’s word counts for an awful lot. Churchill has painful memories of 1915 where thousands were killed in Gallipoli, and in a bid to protect both the lives of his soldiers, and his own legacy, he opposes the battle plans, terrified of potential failure – a lone voice counteracting an otherwise popular operation, and the clock is ticking.

ChurchillGiven the severity of the situation, and the time constraints, it allows for a fast-paced production, and many an opportunity, and licence, for Churchill to indulge in one of his impassioned monologues, implemented into proceedings without contrivance. But the film thrives just as much in these theatrical moments as it does in the more understated, as similarly to what we saw in Selma, it’s not just the public appearances that paint a portrait of the subject, it’s the more intimate sequences, such as when Churchill is getting dressed, discussing the day ahead with his wife Clementine (Miranda Richardson).

In turn, the fragility of the role is explored. This is far from being a cradle to the grave biopic that presents a much younger, fitter version of the protagonist, instead we focus in on a time where he relies on a walking stick. But it’s his judgement here that is in question, as a fragility of both his body and mind is explored, humanising him effectively in the process. Unsurprisingly, Cox turns in a terrific display, as you adhere wholeheartedly to Churchill’s power and influence, balanced with the subject’s playful glint in his eye.

Regrettably, however, the performance is undermined by a film that feels too televisual in its approach, not transcending the initial fear this picture may have been better suited to a one-off feature on the smaller screen. But there is still plenty to admire, to enjoy and to learn from – while if you’re a fan of grunting, there’s plenty of that too. Not quite to the same extent as Timothy Spall in Mr. Turner, but then again, what is?

Churchill is released on June 16th.