MOVIE OF THE WEEK (9/9/16): SULLY
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| "We're telling you – the Freddie Mercury mustache is due tor a big comeback this year!" Chesley "Sully" Sullenberger (Tom Hanks and his co-pilot (Aaron Eckhart) prepare to answer some tough questions in a scene from director Clint Eastwood's take on the man behind the "Miracle on the Hudson," SULLY. Credit: Courtesy of Warner Bros. Pictures © 2016 Warner Bros. Entertainment, Inc., Village Roadshow Films North America, Inc. and Ratpac-Dune Entertainment, LLC. |
KEY CAST MEMBERS: Tom Hanks, Aaron Eckhart, Laura Linney, Jeff Skiles, Patch Darragh, Anna Gunn and Mike O'Malley
WRITER(S): Tom Komarnicki (screenplay); Chesley Sullenberger and Jeffrey Zaslow (Highest Duty, book on which the screenplay is based)
DIRECTOR(S): Clint Eastwood
DIRECTOR(S): Clint Eastwood
WEB SITE: http://www.sully-movie.com/
HERE'S THE STORY: Remember January 15, 2009? If you were one of the 155 passengers or crew members about U.S. Airways Flight 1549, there's no doubt you will for the rest o your lives: That's because that is the day Chesley "Sully" Sullenberger (Tom Hanks) – along with his first mate –Jeff Skiles (Aaron Eckhart) pulled off what would come to be known as the "Miracle on the Hudson," an emergency landing on Hudson River in New York after losing thrust in both engines following a bird strike.
A veteran pilot with 42 plus years of experience, Sully's miracle landing brings up a lot of questions from the National Transportation Safety Board (NTSB) – especially since many of their higher ups believe the left engine may have still been operational and he could have landed safely at not one but two nearby airports. With a bit of financial uncertainty at home with his wife Lorrie (Laura Linney), the last thing Sully needs is an investigation that despite the praise it has earned him, could effectively end his career.
You are invited to learn the untold story behind, as one character in the film calls it, "the first bit of good news New York City had involving a plane in years."
HERE'S THE STORY: Remember January 15, 2009? If you were one of the 155 passengers or crew members about U.S. Airways Flight 1549, there's no doubt you will for the rest o your lives: That's because that is the day Chesley "Sully" Sullenberger (Tom Hanks) – along with his first mate –Jeff Skiles (Aaron Eckhart) pulled off what would come to be known as the "Miracle on the Hudson," an emergency landing on Hudson River in New York after losing thrust in both engines following a bird strike.
A veteran pilot with 42 plus years of experience, Sully's miracle landing brings up a lot of questions from the National Transportation Safety Board (NTSB) – especially since many of their higher ups believe the left engine may have still been operational and he could have landed safely at not one but two nearby airports. With a bit of financial uncertainty at home with his wife Lorrie (Laura Linney), the last thing Sully needs is an investigation that despite the praise it has earned him, could effectively end his career.
You are invited to learn the untold story behind, as one character in the film calls it, "the first bit of good news New York City had involving a plane in years."
WHO WILL LIKE THIS FILM THE MOST? Your parents; pilots; people who like happy endings; Tom Hanks fans; New York City residents; people who like movies where a person shines in the face of criticism
WHO WON'T (OR SHOULDN'T) LIKE THIS MOVIE? People who find the first 45 minutes boring; those who have noticed the problem Eastwood has had lately directing some of his female characters; people who hate film's with bland dialogue; anyone who dislike's Eastwood's politics and will see this film somehow as an homage to the blue collar, anti-current liberal government agenda he has; those who wish the film went deeper into who Chesley Sullenberger is as a person away from the cockpit instead of focusing so much just his heroics
SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that is a classic "split in two" piece, Sully is the type of film you can take your parents to and watch as they enjoy it ... Even if you personally only find the latter half of the film enjoyable yourself.
The first 45 minutes of Sully is a bit well, sullen, pardon the pun. It's in this time period that you get glimpses of the major event, Sully's nightmares following the event of what could have happened, and the establishment that the NTSB clearly believes that despite his heroics, Sully's actions were somewhat (if not extremely) risky and to a degree, irresponsible. Unfortunately, while one can clearly tell Hanks is trying to channel a subtle, steely resolve to give off a classic "I'm just a man doing his job" feeling, the first half of Sully plays out like a standard, made-for-TV-drama that lacks any because of how much Eastwood holds the audience's hand in walking through scenes. Seriously, the first half of the film is set up in such a "can't you see the man is being unfairly criticized fashion" mixed with a "this event has clearly effected the man we should all be praising – he's got nightmares, people!" energy that it just lacks intrigue.
Additionally, for an actress of Linney's caliber, it is extremely disappointing to see her limited to channeling her inner Drake talking to Sullenberger via cell phone spouting off every worried wife cliché with some of the most basic vocabulary this side of a 1980s horror movie. Just like Sienna Miller's turn as the wife of the late Chris Kyle in American Sniper, Linney's loving wife comes off as an unconvincing, worrisome wet blanket of a wife that really doesn't add much to the story. It's all part of a first half that feels very standard as opposed to shining new light on its key protagonist, playing to the middle so safely it doesn't feel dynamic.
Fortunately, once Eastwood moves on to what at first feels like the main event of the film – the flight and it's truly miraculous landing – things start to become a bit more interesting as you are able to feel the recreation of the impact (both physically and figuratively) of the landing. I only say a bit, however, as the passengers on the plane that are focused on feel a bit hokey, although the performance of Patch Darragh as a control tower operator adds some much-needed grit to a story that should have naturally had some. Once the film reaches it's nearly foregone conclusion – you wouldn't have to Google the real hearing to figure out this ending – but it is a satisfying one where Hanks and Eckhart truly brings out the steely resolve Eastwood clearly intends to showcase that was absolutely essential to Sullenberger's and Skiles' shining moment. While Eckhart adds a few good one-liners here and there while having Sully's back, his character's mustache is more memorable than anything else. Ironically enough, the understated, calm nature exhibited during their heroic moment is the one that makes the flight scenes work so well is the exact same thing that makes the rest of the film too often a bland experience. It's good, clean (save for one f-bomb and a few milder profanities that would be more explicit if 90 percent of us were in Sullenberger's and Skiles' shoes), wholesome entertainment your parents will love.
As he has done with Captain Phillips, Saving Mr. Banks and Bridge of Spies, Hanks always finds a way to provide his trademark likable, everyman just shining in a spectacular moment flair to Sullenberger; you just wish he was explored more than being that guy as that would have helped make Sully a better overall experience. Thus, if you are determined to see Sully, it might be best to request a layover until the second half of the movie begins since that's really when the film takes off.
SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that is a classic "split in two" piece, Sully is the type of film you can take your parents to and watch as they enjoy it ... Even if you personally only find the latter half of the film enjoyable yourself.
The first 45 minutes of Sully is a bit well, sullen, pardon the pun. It's in this time period that you get glimpses of the major event, Sully's nightmares following the event of what could have happened, and the establishment that the NTSB clearly believes that despite his heroics, Sully's actions were somewhat (if not extremely) risky and to a degree, irresponsible. Unfortunately, while one can clearly tell Hanks is trying to channel a subtle, steely resolve to give off a classic "I'm just a man doing his job" feeling, the first half of Sully plays out like a standard, made-for-TV-drama that lacks any because of how much Eastwood holds the audience's hand in walking through scenes. Seriously, the first half of the film is set up in such a "can't you see the man is being unfairly criticized fashion" mixed with a "this event has clearly effected the man we should all be praising – he's got nightmares, people!" energy that it just lacks intrigue.
Additionally, for an actress of Linney's caliber, it is extremely disappointing to see her limited to channeling her inner Drake talking to Sullenberger via cell phone spouting off every worried wife cliché with some of the most basic vocabulary this side of a 1980s horror movie. Just like Sienna Miller's turn as the wife of the late Chris Kyle in American Sniper, Linney's loving wife comes off as an unconvincing, worrisome wet blanket of a wife that really doesn't add much to the story. It's all part of a first half that feels very standard as opposed to shining new light on its key protagonist, playing to the middle so safely it doesn't feel dynamic.
Fortunately, once Eastwood moves on to what at first feels like the main event of the film – the flight and it's truly miraculous landing – things start to become a bit more interesting as you are able to feel the recreation of the impact (both physically and figuratively) of the landing. I only say a bit, however, as the passengers on the plane that are focused on feel a bit hokey, although the performance of Patch Darragh as a control tower operator adds some much-needed grit to a story that should have naturally had some. Once the film reaches it's nearly foregone conclusion – you wouldn't have to Google the real hearing to figure out this ending – but it is a satisfying one where Hanks and Eckhart truly brings out the steely resolve Eastwood clearly intends to showcase that was absolutely essential to Sullenberger's and Skiles' shining moment. While Eckhart adds a few good one-liners here and there while having Sully's back, his character's mustache is more memorable than anything else. Ironically enough, the understated, calm nature exhibited during their heroic moment is the one that makes the flight scenes work so well is the exact same thing that makes the rest of the film too often a bland experience. It's good, clean (save for one f-bomb and a few milder profanities that would be more explicit if 90 percent of us were in Sullenberger's and Skiles' shoes), wholesome entertainment your parents will love.
As he has done with Captain Phillips, Saving Mr. Banks and Bridge of Spies, Hanks always finds a way to provide his trademark likable, everyman just shining in a spectacular moment flair to Sullenberger; you just wish he was explored more than being that guy as that would have helped make Sully a better overall experience. Thus, if you are determined to see Sully, it might be best to request a layover until the second half of the movie begins since that's really when the film takes off.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
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