Spielberg by this point is pretty adept at crafting a solid historical drama with period details and excellent ensemble acting. In this case, his current ‘everyman’ Tom Hanks is in the lead role as James Donovan, an insurance lawyer called on to defend an accused Russian spy in late-1950s New York. Donovan does what he can with an open-and-shut case, ensuring that the accused, Rudolf Abel (Mark Rylance) is not executed, an insurance policy which pays off years later (somewhat telescoped by this film) when surveillance pilot Gary Powers is shot down over the Soviet Union and the two men are exchanged by their governments, with Donovan acting as the intermediary. There are, then, essentially two acts, with Hanks stepping up to the courtroom drama with aplomb, the screenplay hitting hard on ‘what it means to be American’ (i.e. follow the guiding light of the Constitution), although at the very least not in a way as facilely patriotic as in some other US films. The real revelation is theatre actor Mark Rylance, whose acting style notably contrasts with Hanks’ familiar good-natured shtick (although the character of Donovan has a hard edge in negotiations — if not in action — that Hanks does bring out well). The second act of the film is set in snowy Berlin, and is almost comedic in its portrayal of the competing bureaucracies of the Soviet Union, East Germany (rather sore at not being a recognised state) and the US, with a foolish university student pulled into the mix. There’s nothing shabby about the production as a whole and it’s put together with all of Spielberg’s well-honed craft, aided by the Coen brothers sharpening up the screenplay. It will probably win awards, and why not, eh?
NEW RELEASE FILM REVIEW Director Steven Spielberg | Writers Matt Charman, Ethan Coen and Joel Coen | Cinematographer Janusz Kaminski | Starring Tom Hanks, Mark Rylance, Amy Ryan, Alan Alda | Length 141 minutes || Seen at Omnia, Rouen, Saturday 5 December 2015
Tom Hanks has been one of Hollywood’s most likeable and charismatic stars for years, and it turns out this touch transfers well to his first directorial effort (though he’s only directed one other film in the intervening 20 years). It helps that this 1960s period story, about a bunch of young American lads chasing the success of the British Invasion bands (specifically the Beatles), is fairly light-hearted and coasts through on the screen appeal of its young leads, including an early role for Steve Zahn. It follows a familiar arc of early beginnings, growing commercial success, band friction and dissolution, but it does so in a very easygoing way that never outstays its welcome (there’s a longer director’s cut, though I’ve not seen that). Cheerfully coloured era-specific set and fashion design enlivens the whole thing, making for a satisfying weekend matinee movie experience.
FILM REVIEW Director/Writer Tom Hanks | Cinematographer Tak Fujimoto | Starring Tom Everett Scott, Johnathon Schaech, Steve Zahn, Liv Tyler, Tom Hanks | Length 108 minutes || Seen at home (DVD), London, Saturday 27 June 2015 (and years earlier as well)
NEW RELEASE FILM REVIEW || Director John Lee Hancock | Writers Kelly Marcel and Sue Smith | Cinematographer John Schwartzman | Starring Emma Thompson, Tom Hanks, Colin Farrell, Jason Schwartzman, B.J. Novak | Length 125 minutes | Seen at Cineworld Enfield, London, Monday 23 December 2013 || My Rating good
As Cast Away (2000) proved, Tom Hanks hasn’t exactly been averse to feature-length product placement films, and while it would probably be perverse to say this is all just one big advert for the magical power of Walt Disney, it certainly doesn’t shy away from hymning the transportive power of childhood entertainment (after all, it’s made by Disney Studios). It deals with the making of their film of Mary Poppins (1964), specifically with the negotiations that took place to get the original book’s author, Mrs P. L. (Pamela, but never call her that) Travers, onboard. It’s through the curmudgeonly Travers, played by an on-form Emma Thompson, who makes the whole enterprise at least somewhat palatable, taking Disney’s self-aggrandising lustre off with her bitter and cynical asides about just about everything she encounters. In that sense, you could look at it as a classic fish-out-of-water scenario, and that’s probably the best way to enjoy the film.
NEW RELEASE FILM REVIEW || Director Paul Greengrass | Writer Billy Ray (based on the book A Captain’s Duty: Somali Pirates, Navy SEALs, and Dangerous Days at Sea by Richard Phillips and Stephan Talty) | Cinematographer Barry Ackroyd | Starring Tom Hanks, Barkhad Abdi | Length 134 minutes | Seen at Cineworld Wandsworth, London, Tuesday 5 November 2013 || My Rating excellent
When I saw the trailer for this new movie many months ago, I have to say I was afraid it would be a triumphal story of an entitled white man single-handedly defeating the racial Other, though I perhaps didn’t take into account director Paul Greengrass’s involvement. As such, the end result is a movie that doesn’t follow the usual playbooks for this kind of story, and which engages with all its characters in a fair way. Greengrass after all has previous form with films based on real life events that take a sort of documentary aesthetic to their recreations: he gained early acclaim with made-for-TV docudramas before finding a bigger screen with Northern Ireland-set Bloody Sunday (2002) and most notably the gripping and claustrophobic United 93 (2006) about the 9/11 flight (not to mention that his forays into fiction in two Jason Bourne films have managed to retain this patina of realism). Therefore, it should have been no surprise that Captain Phillips is a tense and exciting thriller.