Flying Colours: Review of Sully

Sully

Director: Clint Eastwood

By Alex Watson

Flight 1549 surviving the impossible odds in the Hudson River makes for an engrossing experience and Clint Eastwood's Sully is a fascinating look at what it means to be a hero. Tom Hanks' look at the fated Chesley Sullenberger is one of great moral conflict and doubt and Eastwood makes this man out to think of himself as anything but a saviour to the lives of the 155 people he saved. It does also intriguing questions about whether Sully landing the plane in the river was the right move?

Taking off from New York's LaGuardia Airport, U.S Airways flight 11549 hits trouble less than three minutes after taking off when both engines fail after being hit by a flock of birds. Certain they are unable to make either of the nearby airports, Captain Chesley Sullenberger takes the bold move of landing in the Hudson River. Hailed as a hero after saving the lives of all 155 passengers, the investigation of his crash by the NTSB seems determined to prove he was at fault.

In Sully Eastwood is keen to pay homage to the real genius in flying that took and this sequence is breathlessly executed, there is no frantic screaming or panicking in the cockpit, just a pair of experienced flyers keeping a very cool head. His actions may have love letters being written in the press, but Sully is a deeply conflicted man. Throughout he experiences recurring nightmares of fiery deaths that could have occurred. The NTSB seem determined to railroad this man along with his equally heroic co-pilot Jeff Skiles (Aaron Eckhart) and are convinced that the plane's left engine was still operating and they could have safely landed. Smartly Eastwood delays the full reveal of the events of that cold morning on January 15, 2009, and everything we learn we soon begin to distrust. Sully remains convinced this was the right action, but everyone bar Jeff seems to doubt him.

Overwhelmed by both the attention and the possible threat of losing his wings, Sullenberger's explanations and steadfast theories about his crash landing are quickly dismissed. The committee seems to overlook the fact they lost both engines at less than 2800 feet has never happened before "Everything is unprecedented until it happens for the first time!" he dryly explains to his accusers. 40 years flight experience seems to count for nothing here, Sully doesn't want the celebrity which has gone with his selfless act, he simply wants to be proven right. His second-guessing of his actions gives the film a great shadow of doubt and Eastwood puts the judgement firmly at this audience. Was this a brilliant showcase of flying or did he merely luck out? Life at home has become firmly strained and his wife Lorraine (Laura Linney) is beginning to creak under the intense press scrutiny.

Perfectly paced throughout, Sully is a picture that makes you stand up and pay attention. Refreshingly Eastwood stays true to this characters modesty and there are no big or heroic speeches nor is there any huge dramas in between. His final review with the NTSB stubbornly refuses to release big fireworks and prefers the images on the screen to tell it like it really is.  His knowledge of his craft is what really pays the difference and through a meticulous and determined plea, he is able to swing things in his favour. This movie is a wonderful character study of what can come from doing what is right. Saving the lives of people still comes at a price and both Eastwood and Hanks never once overly glorify this character. This piece is also a tribute to the combined fast response times of New York's finest which just shows that coming together can sometimes mean everything.

Tom Hanks is very much the glowing heart of the picture through his well measured and understated turn he holds the screen with vigour. Effortlessly playing the everyman turned possible pariah, Hanks' channelling of his inner conflict is magnificent to watch. Sullenberger is a man who is beginning to wilt under the spotlight and badly wants his actions to be justified. His refusal to simply given and admit fault gives his character a wonderful determination and makes us want him all the more to be cleared. Aaron Eckhart also holds up well as Jeff Skiles and provides a strong presence alongside Hanks and is very much the one positive voice he hears. During the crash scenes, Eckhart shines brightly as he lets Skiles experience speak for itself and would very much be the man you wish have next to you in the cockpit.

Sully is a picture that deserves awards consideration if only for Hanks alone and this is one of the more enticing character studies during this awards season. Also by the time Clint has finished, you will know exactly how to crash land a plane.

Pawn Sacrifice: Review of Bridge of Spies

Bridge of Spies

Director: Steven Spielberg

By Alex Watson

Marking the fourth collaboration between Steven Spielberg and Tom Hanks, this one might just be their strongest effort yet. Bridge of Spies is a finely made thriller that almost effortlessly bring forward the tension and frailty that the Cold War provided. This ride to justice is a long one, but the journey never once feels strained. Thanks to an Oscar worthy Tom Hanks and a cracking Coen Brothers script we see how much one man was willing to put on the line to save others. 

When Rudolf Abel (Mark Rylance) is arrested by the US Government for being a Soviet spy, insurance lawyer James B Donovan (Tom Hanks) is given the unlikely task of defending him. Despite the guilty verdict, he still presses for the mans innocence much to the displeasure of his fellow partner Tom Watters (Alan Alda). But when a US pilot is shot down while on a mission over Soviet territory, Abel and Donovan find themselves involved in a potential swap deal. 

Spielberg smartly does not rush the telling of his story in Bridge of Spies as he knows that the sheer power of it drives the movie along. The build up to the possible exchange gets to almost unbearable levels of anxiety as Donovan enters East Berlin. Here a fair outcome is not promised and there is a sense that both the CIA and the Soviet agents aren't thoroughly concerned with being by the book. Abel is an almost meek and gentle presence who when arrested by the US agents greets them in his underpants asking them to hand him his false teeth. Donovan is a straight shooting character who believes that any man has a right to defense under the US Constitution. At first defending Abel is simply as a publicity stunt which frightens his wife Mary (Amy Ryan). Dirty looks are cast his way and the people soon turn against him, but never once does he fold. From early on he realizes the value Abel could bring to the US and this trust pays off big time. 

The chemistry between Abel and Donovan gives Spielberg's thriller an almost comic edge. Frequently we see his attorney ask the man "Aren't you worries?" only for him to reply "Would it help?" Early on a big pawn enters into the game when US pilot Francis Gary Powers (Austin Stowell) and idealistic and love-sick student Frederic Pryor are both captured and imprisoned. Entering the other side of the Iron Curtain, Donovan has to meet some ruthless and temperamental persona's such as shady and volatile GDR agent Vogel (Sebastien Koch). Securing a swap for both men is seemingly impossible and even his own government seems more concerned with Powers than Pryor. In East Berlin, Donovan is desperately out of his depth and there are moments that shock us. One moment sees two people brutally gunned down while attempting to cross from East to West! 

Featuring a script by the Coen Brothers, at point there is a typically zany feel by these two in Bridge of Spies. Watching Donovan meeting Abel fake and delusional East German family is one moment that is throw back to the screwball humor that are able to bring. There are also sequences that are wonderfully underplayed but offer electricity nonetheless. The calm and docile opening chase sequence on the Brooklyn subway is eye-catching throughout. The real point of suspense late on is as the switch becomes nearer. Will this go smoothly? Or will one over zealous agent throw a spanner into the works? Donovan in this sequence steps up his game and emerges as a real hero, particularly in the docile and almost charming way he blackmails a youthful office assistant. In this moment, he has found perhaps the one man in Berlin will listen hard! The uncertainty of what Abel's people will do with him is one question that haunts the picture. 

Tom Hanks shows what a presence he can still be when tasked with holding things together. As James Donovan he is the voice and face of reason and even when the odds are stack he goes down swinging. Hanks plays to the characters strengths and is an engrossing presence who willfully steps into the crooked ground. Mark Rylance however, steals the film from underneath Hanks with a buttoned down turn as the quiet Abel. Whenever Rylance appears he is a likable and almost tranquil presence. Steadfast in his beliefs, Abel makes no apologies for his past or present actions, he simply just wants to paint. Cast as the BFG in Spielberg's new adaptation of Roald Dahl's beloved novel, Rylance gives a big sign of what could be next. In this he is very much the little friendly giant who has become the US' most valuable asset. 

Bridge of Spies is one film that will no doubt be an awards favourite this year, if only for the acting work on display. Spielberg and Coen brothers have proven a fine mix and hopefully this is one collaboration we will see again.

Top 5 Cinematic Battle Scenes

Saving Private Ryan: Omagh Beach

As openings go, none have been more realistic or eye opening  in Steven Spielberg's career than this one. Seeing Captain Miller (Tom Hanks) and friends speeding away in a boat towards what will be a life changing event, we see soldiers being sick from nerves. The moment they hit the beach, there are no heroics, men drown from their heavy packs, bullets hover like fireflies and lives disappear in an instant. Spielberg succeeds in showing that in the heat battle, only brave and the fortunate prevail. Even today this stands as one of the great directors finest sequences!

Star Wars: A New Hope: Death Star Attack

Since its release in 1977, George Lucas' sci-fi masterpiece has a finale that has lost none of its potency. An air bound dog fight in its finest, the Rebels goes head to head with the Empire in what amounts to little more than a suicide run. The thrill factor is still very much alive and Lucas and his company Industrial Light and Magic have succeeded in keeping the effects looking timeless. But it is what's at stake that provide the audience its real nerves as the Death Star is on the verge of blowing them out of existence. Try fight not to stand up and cheer during the trench run sequence, I dare you!

Zulu: Rourke's Drift

The most endearing this about the Cy Enfield's, 1964 war film is the soldiers it is based on. 100 brave British Soldiers stood firm against the a never sea of over 4,000 Zulu Warriors at Rourke's Drift. Enfield in a pulse raising effort shows the grit and determination of the men involved. Led by aristocratic Bromhead (Michael Caine) and hard nosed engineer Chard (Stanley Baker) the red coats find the spirit in themselves to repel the rolling waves before them. The finale sequence is the one that still stands out as the weary warriors through sheer will win a deserved respect from the enemy. 11 Victoria Crosses were awarded for their courage- still a record to this day.

Apocalypse Now: Village Attack

These day's it is impossible to hear Wagner's 'Ride of the Valkyries' and not think of the memorable village attack from Francis Ford Coppola's 1979 Vietnam War classic! Emerging from the clouds like black angels of death, they quickly rain down a fiery and bloody outcome on the villagers below. Led by thrilling seeking surfer commander, Lt Colonel Kilgore (Robert Duvall) the image to this day still everlasting as he forces his comrades to surf will the tree line it set alight by napalm! As Duvall delivers the legendary line "I love the smell of napalm in the morning!" it leave us reeling from what we have just witness- this would prove to be one the last hurrah's of Coppola's career.

 Children of Men: Escape From Bexhill

If ever you needed proof that Alfonso Cuaron is one of the best modern day directors, you need only look here. Proving the master of the one take scenes, here Cuaron gives us a heart stopping escape attempt as Theo (Clive Owen) attempts to protect a mother and the first human born child in centuries. As the refugee uprising folds, the next six minutes has everything an exciting finale should have as bullets fly and explosions appear all around. However, even in the midst of a meltdown, there is a moment of beautiful serenity as both sides ceasefire to witness the miracle creation. Even in the midst of war, Cuaron finds space to reflect on what good can be find in the most unlikely places.