If Peter Cattaneo’s The Full Monty had balls, it would have proudly displayed them in the film’s curtain shot. This time, with their husbands and lovers deployed in Afghanistan, rather than take a strip-tease show on the road, Cattaneo’s titular guardians of the home front, here bivouacked at a British army installation, look to singing to ease the anxiety and loneliness. Cute happens, the act catches on, and the ladies travel to Albert Hall to belt out a few tunes. Arrogant professionalism clashes with amateur aspirations when the frosty, high-strung Colonel’s wife (Kristen Scott Thomas) takes on the manager of the local PX (Sharon Horgan) to see who will command group loyalty. At least two dozen members of the choir appear for the climatic recital. But for a few single-use figurines — a tone deaf beautician, a recent war widow, a camera-shy nightingale — the only characters allowed even a modicum of depth are our leads, both of whom display a gift for sprightly one-upwomanship. (2019) — Scott Marks
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