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Toy Story 3 seemed like a definitive end to the story of Woody (the voice of Tom Hanks), Buzz Lightyear (Tim Allen) and company. That movie was, in a word, perfect in the way it tied up the story of Andy and his lifelong toy companions.

I’m someone who thought Toy Story 3 should’ve been the final chapter in the franchise. And I’m now someone who is fine with one more chapter, thanks to the totally satisfying Toy Story 4.

Pixar and director Josh Cooley (making his feature directorial debut with the studio’s most-precious franchise) chose to mess with perfection and extend the story of Woody and friends. The results are less than perfect, but still very worthy of Toy Story lore; this is a welcome breath of fresh air in a summer movie season that thus far has been a series of big franchise stink bombs (Godzilla: King of the Monsters; Men in Black: International; Dark Phoenix).

After a recap in which Andy appears, the action goes to the home of Bonnie, the little girl Andy handed his toys over to at the end of Toy Story 3. Bonnie is gearing up for kindergarten and is a little freaked out, so Woody jumps into her backpack as moral support.

Woody witnesses Bonnie creating what will be a fantastic new character for the franchise in Forky (Tony Hale), crafted out of a plastic spork, pipe cleaners and Play-Doh. Woody immediately sees the importance of this new toy friend, and has himself some new missions: Make sure Forky accepts his new role as a toy instead of trash, and help Bonnie adjust to the rigors of kindergarten.

Bonnie’s day at kindergarten was only an orientation session, and her parents decide to take her on that ever-familiar movie trope: the road trip—in the family RV, no less. The family gets diverted, and the toys wind up getting themselves into trouble at an antique shop inhabited by Gabby Gabby, a deceptively adorable talking doll (Christina Hendricks). Gabby, of course, seems friendly at first (just like Ned Beatty’s purple bear in Toy Story 3), but she has evil intentions regarding a part of Woody’s anatomy—and she has an army of ventriloquist dummies to carry out her plans. Toy Story 4 ends up being as scary as it is funny when the action involves the dummy army. Damn, they are creepy!

Along with Forky and Gabby Gabby, other newcomers include Ducky and Bunny (Keegan-Michael Key and Jordan Peele) and, most spectacularly, stunt motorcycle-rider Duke Caboom, voiced by cinematic darling Keanu Reeves. Caboom, obviously modeled after Evel Knievel, is having his own existential crisis—low self-esteem, due to his prior child owner not being impressed with his jumping abilities.

Woody’s sweetheart, Bo Peep (Annie Potts), gets a prominent role in the new adventure. Sadly, the budding romance between Jessie (Joan Cusack) and Buzz that we saw in Toy Story 3 is not further explored. In fact, Jessie and Buzz are relegated mostly to background duty.

It’s not surprising that Toy Story 4 is the most visually impressive of the films. The folks at Pixar have had nearly a decade to hone their skills since the last chapter, so the likes of Woody, Buzz and Jessie have a new, refined beauty.

The ending of Toy Story 4 will again have fans and critics proclaiming that this must be the end for the franchise. The film certainly feels like a closing chapter, but we all said that about the last movie. The premise is still ripe for spinoffs (a Duke Caboom movie!), prequels—whatever. Heck, maybe Disney will do a live-action remake of the original, since that seems to be the trend.

Toy Story 4 is now playing at theaters across the valley, in a variety of formats.

Published in Reviews

Perhaps the most important journalistic battle in American history gets the Spielberg treatment in The Post, featuring a stellar cast that includes Meryl Streep and Tom Hanks.

The film explores The Washington Post’s decision to print the Pentagon Papers on Vietnam in 1971, a move that raised the ire of then-President Richard Nixon, and put the careers of people like paper owner Kay Graham (Streep) and editor Ben Bradlee (Hanks) in major jeopardy. Of course, Hanks isn’t the first movie star to play Bradlee: Jason Robards also played him in All the President’s Men, the classic film that covered the Watergate scandal. Bradlee, who died in 2014, was a journalism giant.

The movie starts in the mid-’60s with Daniel Ellsberg (Matthew Rhys), a member of the State Department who is a study for then-Secretary of Defense Robert McNamara (Bruce Greenwood) in South Vietnam. Embedded with American troops, Ellsberg sees all sorts of atrocities and is a firsthand witness to the growing failure of American participation in the Vietnam War. His forecast about the war’s outcome is bleak, but McNamara and President Johnson (and three presidents before him) share a rosier—and false—version with the American public.

In 1971, with Nixon in the White House, Hanks and Streep get their first scene together: They’re in a restaurant having breakfast, discussing their big controversy of the day—the White House’s meddling with their ability to cover the wedding of Nixon’s daughter. Bradlee refuses to bend to Nixon’s request to restrict a certain reporter, while Graham wonders what the big deal is. This scene is long, dialogue-rich take—and it’s basically a school in great acting.

Things progress from troubles with weddings to the war, with the unauthorized release of the Pentagon Papers by Ellsberg, and The New York Times printing a story about them. This move gets the Times in trouble with the Nixon administration. Bradlee and his team come into contact with Ellsberg and get the opportunity to go through thousands of pages of classified documents. They have two options: Print a deeper story on the classified documents and face potential treason charges; or bury the story to help preserve the paper, which is going through an initial public stock offering and would likely be harmed by any negative controversy.

History has told us what Graham, Bradlee and their team of reporters did—but that doesn’t make The Post any less thrilling. Spielberg not only uses The Post as an opportunity to put great actors in play; he makes The Post a grand testament to the golden age of print journalism.

It’s not just the risk-taking of editors, owners and journalists that makes The Post such an absorbing piece of history. The mechanics of producing a story for the masses in the 1970s were a little complicated by today’s standards: Journalists seeking leads with rotary phones and pay phones, and hard deadlines that had to be hit because it took a lot of time to actually publish a newspaper each day, play a big part in the storytelling. Spielberg relishes the chance to show a story getting rolled up on typed paper, shot through an internal delivery system to an editor, edited by a man with a pencil, and then placed on a costly template for publication. The sight of massive amounts of paper getting printed and then bound to be taken to the streets is one of Spielberg’s most impressive technical filmmaking feats in years.

The supporting cast includes Bob Odenkirk and David Cross, the legendary TV comedians of Mr. Show. It’s a trip to see them onscreen together in a Spielberg production. Tracy Letts, Bradley Whitford, Carrie Coon and Sarah Paulson round out the cast.

The Post is the best Spielberg offering since Munich, bringing to an end one of the weaker stretches in his career that included the lackluster Lincoln, Bridge of Spies and The BFG. It’s an impressively staged account of a pivotal moment in our history—at a time when the freedom of the press is again being actively challenged by a sitting president.

The Post is playing at theaters across the valley.

Published in Reviews

The Circle is a clueless movie based on the novel by Dave Eggers, a lame attempt at satire regarding social networking and the invasion of privacy during this digital age.

The setup is certainly interesting—but the execution seems like something perpetuated by a 14 year-old student who waited until he or she was on the school bus to scribble out a paper on the perils of social networking, just before it was due.

After slaving away at a temp job, Mae Holland (Emma Watson) lands a gig at The Circle thanks to her friend Annie (Karen Gillan), a top player at the company. The Circle is essentially all of today’s ubiquitous tech entities—Apple, Google, Facebook, Twitter, etc.—wrapped into one. It’s run by a friendly looking, coffee-cup-toting, Steve Jobs-like entity named Bailey (Tom Hanks) and his sidekick, Stenton (Patton Oswalt, aka TV’s Son of TV’s Frank on the new incarnation of Mystery Science Theater 3000).

Mae progresses from being a customer-service rep to being a big player in the company seemingly overnight—and let’s just say that ascension is a wee bit unconvincing. She starts as an apprehensive but competent newbie, who thinks some of what The Circle offers is a bit much and invasive, and suddenly becomes a full-on advocate and believer of what she’s peddling. How does Mae become a pawn in Bailey’s evil scramble for world digital domination? She has a kayaking mishap, and is saved because The Circle had a camera on a buoy in San Francisco Bay.

The film went through some major reshoots, and it wouldn’t be surprising if the kayaking sequence was pushed into the movie as a last-minute plot device. It also wouldn’t be surprising if the kayaking thing was in there from the start, because everything in this movie feels arbitrary and tacked-on.

Mae’s relationship with her friend Annie goes sour with very little warning and no real explanation, other than Annie is envious of Mae’s success. Annie is a pal in one frame, and then an adversary a few frames later. It feels like the movie is missing something with her character. The same thing goes with Mercer (Ellar Coltrane), a friend of Mae’s who takes a lot of flack after she posts a pic of the antler chandelier he made. That flack is mostly from animal activists, as well as, presumably, people who have good taste, because his work is ugly as hell.

Watson’s portrayal of Mae’s turmoil and opinion swings lacks dimension, wit and shock value. Much of this can be blamed on the screenplay, written by Eggers and director James Ponsoldt; it lacks the sort of insight and dark humor this sort of film needs. It’s also possible that the likable Watson lacks the talent to pull off a roll like this—one that requires her to be unlikable in many ways.

The film is clearly aiming for satire, but it has no bite, and its tone is often grating. Sequences like Mae’s interview and job-orientation sessions feel like they belong in another, less-reality-based movie. They are also horribly acted and staged.

This film’s level of stink is stunning, considering that it’s directed by Ponsoldt, who was on a roll after the 1-2-3 punch of Smashed, The Spectacular Now and The End of the Tour. It’s also sad that this is the last film appearance for Bill Paxton, who plays Mae’s ill father. He’s a great actor who deserved a better sendoff than this miserable reunion with Hanks, his Apollo 13 co-star.

For those of you plunking down the bucks to see a Tom Hanks movie, know that he is only in a few scenes—and he, like Watson, looks lost.

The Circle is obnoxious, sloppy and full of aimless arguments that have no true conclusions. You know … it’s like most of your Facebook and Twitter news feeds.

The Circle is playing at theaters across the valley.

Published in Reviews

I am grateful for the existence of Inferno, Ron Howard’s latest installment in his Da Vinci Code film series.

Without Inferno, Tom Hanks would’ve had no reason to be out promoting a movie around Halloween time. Because he was, he stopped by Saturday Night Live to host for a ninth time. While there, he was in a totally bizarre sketch as David Pumpkins, a weirdo in a haunted house elevator ride accompanied by two beatboy dancer skeletons. The sketch is already a classic.

That’s it … that’s the only reason I am grateful for the existence of Inferno. David Pumpkins.

The film itself is easily the worst of the series, a series that was already pretty terrible in that both The Da Vinci Code and Angels and Demons blew ass. Hanks returns as Robert Langdon, something the world’s most beloved actor shouldn’t need to do. This series needed to be put down after the first installment.

When Langdon wakes up in a hospital room, with a bullet scratch on his head and a loss of memory, Sienna Brooks (Felicity Jones) is there to help. Then, somebody starts toward Langdon’s hospital room with guns a-blazing, and the so-called adventure begins.

Langdon is having hallucinations about something akin to Dante’s Inferno while trying to work his way through amnesia. He’s in Italy, and he doesn’t know why, but Sienna, for reasons unknown, is going to stay by his side until he works things out.

For starters … the amnesia gimmick is one of the most desperate plot gimmicks anybody could put in a novel or a screenplay. I was half expecting Robert Langdon’s evil twin brother, the villainous Michael Langdon, to appear and kick Robert in the balls. This feels like a cheap soap opera from beginning to end.

Also, if you are going to employ the amnesia gimmick, be consistent. Moments after barely being able to remember anything, Langdon manages to grab a laptop and use the Internet (even though he didn’t know what coffee was just seconds before). He then he remembers his password and surfs the net. So he has selective amnesia: He can remember intricate details about passwords and how to surf the net, but that darned coffee stuff mystifies him.

The main “puzzle” Langdon has to solve this time out is finding out where a doomsday bomb containing a virus that will wipe out the majority of the Earth’s population has been planted. If he doesn’t find the Make Everybody Sick bomb, it will be an apocalypse like no other. Gee, I wonder if he’ll find it. I wonder if the whole world will die in a Ron Howard movie.

The first quarter of the movie does have some decent visuals as Langdon has nightmares about a plague-infected Earth, although it makes little sense why he’s having them at all. Much of the rest of movie consists of Robert and Sienna running around, pausing to talk about some sort of puzzling business that needs to be solved, and then running around again. The puzzles, as in the prior films, are ridiculous.

Hanks is just going through the motions, having to spend much of the movie looking confused and sweating profusely. Jones is a good actress, but she’s given nothing to do with a completely ridiculous part. If you’ve seen the commercials for this one, you already know the fate Ben Foster’s character suffers. He wastes his time here (after a great performance in this year’s Hell or High Water) as a billionaire who thinks the world is due for a cleansing.

Apparently, author Dan Brown is at work on a new Langdon novel, due out in 2017. Given that Inferno is a bomb by all accounts, let us all hope we have seen the last of Hanks and Howard wasting their precious time on this series.

And if you haven’t seen the David Pumpkins SNL sketch yet, you need to Google that shit, pronto.

Inferno is playing at theaters across the valley.

Published in Reviews

Don’t go see Sully, Clint Eastwood’s take on the heroic actions of pilot Chesley “Sully” Sullenberger, expecting a lot of historic realism.

The portions about a pilot successfully landing his plane in an ice-cold Hudson River and allowing more than 150 people to tell the tale are really the most important, and most compelling, parts of this movie. As for the evil, fictitious inquisition that tortures Sully (played by Tom Hanks in a typically riveting performance) and co-pilot Jeff Skiles (welcome back to decent movies, Aaron Eckhart!) … well, that’s basically a lot of made-up horse shit.

That’s not to say Sully wasn’t tormented in the days after the event, and the film does a good job of displaying his internal struggles. The man had to essentially crash-land a plane after a bunch of birds flew into his engines, and then he had a bunch of dicks asking him tons of questions in the aftermath. Undoubtedly, he went through hell during that flight, and is haunted to this day. Eastwood and Hanks deliver a compelling psychological drama about a man who doubts his own heroism—to the point of nightmarish visions and self-deprecation.

However, the film goes a bit afoul in the depiction of a panel that didn’t even give Sully and his crew a chance to breathe after being plucked out of the Hudson. Yes, there was an inquiry, but it took many months, and did not take place a few days after the event; eventually, the panel’s findings were in favor of Sully and his maneuvers. Surely, Sully worried about the investigation, as any man in his situation would, but there’s no doubt that Eastwood and his scripters got a little carried away creating bad guys.

As for the actual flight, one that only took a few minutes: Sully proves that a pretty decent movie can be made around that amazing occurrence as the centerpiece. Eastwood (86 freaking years old!) has put together some of the best scenes of his movie-making career in this film, especially when that plane takes the bird hit, can’t make it back to LaGuardia and starts plummeting. It’s scary stuff, and he puts you in the cockpit—and in a crowded coach seat—every step of the way.

Hanks should find himself in contention for another Oscar nomination. (He hasn’t gotten a nomination since Cast Away in 2001! That is crazy!) His performance is understated, non-showy and straight-up brilliant. Anybody who has seen the real Sully conduct himself during an interview can see the man has a low-key persona. Hanks gives us a dude with a lot going on beneath that quiet exterior.

Eckhart, whose career hit the skids after his bravura turn in The Dark Knight, gets back on track as a man who can’t believe his friend is being grilled so harshly after saving so many lives. His work here is almost good enough to make you forget I, Frankenstein. Laura Linney plays Sully’s wife, Lorraine, and she basically spends the whole film on the phone acting totally worried. Breaking Bad’s Anna Gunn plays one of Sully’s interrogators; it’s a role that doesn’t really further her career.

Eastwood has been specializing in biographical films and real-life events in the latter part of his career. Sully, like American Sniper, is an entertaining if somewhat untruthful film about a real guy. (Then there is J. Edgar, which was a disaster.)

It would be hard to create an entire motion picture out of such a short event, so it’s no surprise that Eastwood and friends had to make up some garbage to pad the running time. Luckily for them, and for us, the great parts of this movie put it over the top. It doesn’t hurt that Hanks heads up the cast.

Sully is playing at theaters across the valley.

Published in Reviews

Steven Spielberg continues a mini-slump with another good-looking yet terminally boring historical drama.

After the middling Lincoln comes the sleepy Bridge of Spies. This is Spielberg’s fourth collaboration with Tom Hanks, and their first since 2004’s terrible The Terminal. It doesn’t represent a return to the glory of Catch Me If You Can and Saving Private Ryan.

This film certainly had a lot going for it. It’s Spielberg’s take on spying during the Cold War in the 1960s, which sounds like it should be exciting—and it’s a collaboration with the Coen Brothers. Joel and Ethan chipped in on the screenplay, which usually means good things are afoot.

I wish Joel and Ethan had directed it as well; perhaps then the film would’ve had more edge and been less cutesy, with its emotions a little less obvious and drippy. Also, a discernible pulse for the majority of the running time would’ve been nice.

Hanks plays James B. Donovan, a U.S. tax attorney who lands the unenviable task of representing alleged Russian spy Rudolf Abel (Mark Rylance). While Donovan’s law firm and the courts see the whole thing as an open-and-shut case, Donovan makes it known that his intentions are to represent Abel to the full extent of the law. Cue the grouchy judge and perplexed bosses—and you know one of them is going to be played by Alan Alda.

In a parallel story, some pilots join the CIA in a new spying program with U-2 planes. One of those planes gets shot out of the sky at 70,000 feet, giving the Russians their own spy prisoner in Francis Gary Powers (Austin Stowell). With the erection of the Berlin Wall, yet another “spy” is captured when Frederic Pryor (Will Rogers), an American student who picked a crappy time to study in Berlin, is apprehended by the East Germans.

Those captured American stories crisscross with Abel’s story as Donovan winds up overseas trying to negotiate prisoner exchanges.

Hanks is characteristically good in the central role. The film is at its best when Donovan is trudging through the streets of Berlin, trying to find the Russian embassy and evading thugs who are trying to steal his fancy coat. Hanks instills these moments with some good humor. It’s not one of his greatest performances, but it’s a solid one.

While the film bores me, but there is a sequence that pops with great intensity and displays Spielberg hitting all of his marks: When the Powers’ plane is shot down, the sequence leading up to him finally getting his parachute open is terrific. It feels like it should’ve been in another movie—perhaps one in which somebody turns a light on during the interior scenes.

Spielberg has directed only a few major bombs (1941, The Terminal, Hook), with a couple of films that were OK (Amistad, Always) and a boatload of classics. His last two movies don’t fall into any of those categories: Lincoln and Bridge of Spies are mediocre films that could’ve been great.

Spielberg needs to have fun in the fantasy sandbox again. Whether it’s the long-rumored fifth Indiana Jones, or some sort of sci-fi adventure, I want his next movie to be less about period haircuts and neckties, and more about storylines with energy. He’s getting hung up on films in which characters blather on and on in dark courtrooms and back offices. It’s tiresome and beneath him.

Many years ago, I would defend Spielberg films to people who thought he overdid it on the sentimentality. Many moments in Bridge of Spies had me remembering those arguments, because the moments dripped with sap. If somebody were to tell me today that Spielberg is overdoing it with the sentimentality, I’d raise my glass in agreement, then quietly shed a tear, because one of my favorite directors gone (temporarily, I hope) astray.

Bridge of Spies is playing at theaters across the valley.

Published in Reviews

Tom Hanks and Emma Thompson are charming as Walt Disney and Mary Poppins author P.L. Travers in this obviously whitewashed look at Disney’s attempt to get the movie rights to her book.

We all know that Disney succeeded, but many don’t know that Travers was quite the holdout. The movie splits time between the Disney/Travers business and Travers’ childhood, where we find out that much of Mary Poppins was based on her troubled father (Colin Farrell) and actual nanny.

B.J. Novak and Jason Schwartzman are wonderful as the Sherman brothers, who made Mary a musical, much to the chagrin of Travers. The movie takes a lot of artistic license with the situation; even though Travers is depicted as difficult, she was far more adversarial in real life, and never approved of the movie. (Those animated penguins!)

Still, the film is much fun to watch, with Hanks and Thompson making it all very worthwhile and heartwarming. Shockingly, Thompson was super-snubbed when it came time to hand out Oscar nominations, as was Hanks. In fact, only Thomas Newman’s score received an Oscar nom from this film.

Special Features: Some deleted scenes are of interest, especially one between Hanks and Thompson when Travers has decided to leave without giving approval of the film adaptation. There’s also a cute scene of the real Richard Sherman leading the cast in a round of “Let’s Go Fly a Kite.” Still, this package is a bit lacking. 

Published in DVDs/Home Viewing

The Palm Springs International Film Festival kicked off over the weekend with some of the fest's biggest events.

On Friday, Jan. 3, the Opening Night Gala Screening, featuring the film Belle, took place at Palm Springs High School. And on Saturday was the biggest event of all: The Black Tie Awards Gala, at the Palm Springs Convention Center.

Here's how the Los Angeles Times described the awards affair:

The Palm Springs International Film Festival gala or, as Tom Hanks called it, "This little, intimate, Sonny Bono rec-room chicken dinner get-together for two-and-a-half-thousand people," took place Saturday night. Meryl Streep picked up an award. So did Hanks, Sandra Bullock, Julia Roberts, Bruce Dern and Matthew McConaughey, among others.

And though they were all seated within a few feet of one another in the airport-hangar-sized Palm Springs Convention Center, these Hollywood stars were more or less allowed to eat their pot-roast dinner in peace.

That's because Bono was in the house.

That's Bono, the singer from the Irish rock band U2, not Mary Bono, the widow of another singer named Bono—Sonny, the man who started the film festival 25 years ago when he was mayor of Palm Springs.

The Independent was there; here are just a few pictures from the events. And watch CVIndependent.com all week for more coverage of the festival. Enjoy!

Published in Snapshot

Tom Hanks and Emma Thompson are charming as Walt Disney and Mary Poppins author P.L. Travers in this obviously whitewashed look at Disney’s effort to get Travers’ approval to make a movie out of her book. Of course, most of us know he succeeded, but many don’t know that Travers was quite the holdout.

The movie splits time between the Disney/Travers business and Travers’ childhood, where we find out that much of Mary Poppins was based on her troubled father (Colin Farrell) and actual nanny. B.J. Novak and Jason Schwartzman are wonderful as the Sherman brothers, who made Mary into a musical, much to the chagrin of Travers.

The movie takes a lot of artistic license with the situation. Even though Travers is depicted as difficult here, she was far more adversarial in real life—and never approved of the movie. (Those animated penguins!) Still, the film is fun to watch, with Hanks and Thompson making it all very worthwhile and heartwarming.

Saving Mr. Banks is playing at theaters across the valley.

Published in Reviews

Tom Hanks stars in another real-life-event film in which his character is stuck in a small, dangerous space for a long time—and we know how the story turns out.

Even though most of us know how Captain Phillips will end, Hanks and director Paul Greengrass (The Bourne Ultimatum, United 93) somehow make the story suspenseful. As he did in Apollo 13, Hanks makes us terrified and confused for his character. (If you somehow don’t know the outcome of the true story, go see the film, and be doubly frightened.)

Hanks plays Richard Phillips, captain of the Maersk Alabama cargo ship. While on its way to Kenya in 2009, his ship encounters Somali pirates who try multiple times to board his ship. They eventually succeed, putting into play a crazy hostage drama that results in Phillips being taken aboard a space-capsule-sized lifeboat with his captors.

In every stage of the thriller—from the moment Phillips spots the pirates, through his initial face-to-face confrontation with them, and into the search for the hiding crew members—Hanks is masterful. His Phillips maintains a certain level of calm and smarts, but isn’t superhuman or oblivious to the terror of his situation.

Augmenting the story with a terrifying yet somehow sympathetic performance is Barkhad Abdi as Muse, the pirate leader. One of the major strengths of this film is the relationship between Phillips and Muse—one that starts with Muse informing Phillips that he is no longer the captain of his own ship.

Without necessarily portraying Muse as a victim, Abdi’s performance and Greengrass’ direction hint that Muse is being forced into his reprehensible actions. We first see Muse in Somalia as he’s being bullied into action by a village elder who tails him in a bigger boat and seems to be suggesting dire punishment if Muse doesn’t comply with hijacking plans to extort millions from the Americans. Whether or not this is a true account, it definitely makes Muse a more-fleshed-out character. As for the interplay between Abdi and Hanks, it is chilling, fraught with tension and always on the edge of explosion.

In the supporting cast, Michael Chernus distinguishes himself as chief mate Shane Murphy. You might recognize Chernus from his geeky-guy role in Men in Black 3. This time out, he’s asked to show the dramatic goods, and he comes through nicely. Catherine Keener shows up in the first scene as Phillips’ wife, and then disappears completely. We don’t get any scenes of her biting her nails while awaiting word about her husband’s fate.

The movie seems to be a fairly accurate representation of what actually happened, although some crew members of the Maersk Alabama have taken issue with Phillips’ account in his book, A Captain’s Duty, on which the movie is based. Some of them are saying Phillips acted irresponsibly, ignoring warnings to stay at least 600 miles off the Somali coast due to pirates in the area, and not following proper procedures when the pirates boarded his ship.

Taking all this into consideration, the story in the film remains engrossing, with Greengrass keeping the action realistic and believable. Film buffs might be relieved to know that Greengrass and his crew are relaxing a bit with the shaky-cam, something that got a little tiresome in his Bourne movies. Yes, there’s some shakiness, but nothing that distracts from the action.

Hanks delivers the role in a sort of strange Boston accent that I had a hard time identifying. It’s not all that distracting, really; just pretend his character is Australian, and you’ll be OK. He’s so good here that he can butcher an accent and still be worthy of an Oscar nomination.

Captain Phillips is playing at theaters across the valley.

Published in Reviews

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