Tag Archives: Tom Hanks

2022 Films, Drama, Tom Hanks

A Man Called Otto-2022

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A Man Called Otto-2022

Director Marc Forster

Starring Tom Hanks, Mariana Trevino, Truman Hanks

Scott’s Review #1,398

Reviewed September 13, 2023

Grade: A-

I hedged slightly with seeing the film A Man Called Otto (2022) because it looked like an overly sentimental, predictable melodrama. It also missed out completely during the 2022-2023 awards season which means that the film had its share of critical detractors.

But I do love and admire Tom Hanks, both professionally and personally, even though he can be accused of choosing marginally safe material.

Though the film explores a tried and true formulaic setup my heartstrings were immediately and severely pulled by the events in the movie. I may have been manipulated into teariness but in the best of ways and I didn’t mind a bit.

I enjoyed A Man Called Otto much more than I ever thought I would.

It is an American remake of the 2015 Swedish film A Man Called Ove, based on the 2012 novel by Fredrik Backman.

Otto Anderson (Tom Hanks), is a grumpy widower whose only satisfaction comes from abiding by and enforcing his neighborhood rules and regulations and criticizing and judging his exasperated neighbors.

When a young Hispanic family moves in next door, he connects with the no-nonsense and very pregnant Marisol (Mariana Trevino), leading to an unexpected friendship that softens and unnerves the crotchety man.

As the pair bond, the audience learns more about Otto and his deceased wife Sonya (Rachel Keller) through flashbacks. The once youthful and determined couple faces terrible obstacles as we realize why Otto has become so depressed and irritable.

A Man Called Otto is very conventional, polished, and sentimental and could arguably be accused of being a tad dramatic. It’s not a dangerous film nor does it present material viewers have never seen before.

Nonetheless, it works!

The reasons it works so well start with Tom Hanks. A two-time Oscar winner who has played many types of characters before he portrays his character with flourishing comedy and dramatic gusto.

We like Otto even though he could be classified as an asshole.

Despite Hanks’s acting ability, he is only part of the enjoyment of the film.

Worth mentioning is that the very liberal Hanks and his wife Rita Wilson co-produced the film and I’m glad they did.

A heavy dose of diversity and inclusivity are plopped into the film. Otto’s neighbors are a black couple revealed to be Otto and Sonya’s best friends for decades.

Otto confronts a teenager named Malcolm for delivering advertising circulars, and the boy recognizes Otto as his former teacher’s husband, recounting that Sonya supported him as a transgender student when nobody else did.

Sonya courageously led an effort to convince the other teachers to respectfully call Malcolm by his desired name.

Another win is the frequent flashbacks to when Otto and Sonya first met. A nervous but smitten Otto intentionally gets on the wrong train to bring Sonya a book that she has accidentally dropped on the platform. They eventually dine in a nice restaurant where he encourages Sonya to have a lovely entre while he dines on a meager bowl of soup because of financial issues.

Truman Hanks (Tom’s son), Rachel Keller, and Mariana Trevino deliver outstanding performances in supporting roles.

Finally, a feral cat that reminds me of my darling cat Zeus stole my heart. He also steals Otto’s.

It’s these trimmings that make the film a crowd-pleaser and a charming sentiment. The story feels fresh even though other films have had the same type of message. A case could be made that Otto is Ebenezer Scrooge in a non-Christmas film.

I may not necessarily need to see A Man Called Otto (2022) again since it’s a one-shot deal type of movie but I’m glad I did. The film reaffirms that there are good people in the world who selflessly look out for each other without needing personal gain.

2022 Films, Biography, David Wenham, Drama, Luke Bracey, Musical, Musical Drama, Olivia DeJonge, Tom Hanks

Elvis-2022

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Elvis-2022

Director-Baz Luhrmann

Starring Austin Butler, Tom Hanks

Scott’s Review #1,299

Reviewed September 16, 2022

Grade: B+

Once I knew that Australia’s own Baz Luhrmann was directing the new film Elvis (2022) I immediately formulated an expectation of what the film-watching experience would be like. I anticipated a certain type of filmmaking, an auteur artist merging fast-paced music videos with a dramatic biopic into a film.

Other Luhrmann offerings like Moulin Rouge (2001) and The Great Gatsby (2013) infuse contemporary musical elements and are highly visual and stylistic. I knew what I was going to get and was prepared for it.

Elvis is no different and Luhrmann’s style is an unconventional risk not for everybody.

I mostly enjoyed the film but did not quite love it either, seeing both the good and the not-as-good.

At two hours and thirty-nine minutes, it goes on way too long.

Perhaps contradicting this point is that Elvis does get better as it goes along, at first feeling jarring, overwhelming, and all over the place with rapid editing and very quick camera work.

A Dramamine is suggested until one is comfortable with the sudden bursts of turbulence. I semi-joke but there is a period of sinking into Luhrmann’s style that is necessary especially if never having seen one of them.

The film explores the life and music of Elvis Presley (Austin Butler), and his complicated relationship with his opportunist manager, Colonel Tom Parker (Tom Hanks), and his wife Priscilla (Oliva De Jonge). The story delves into the singer’s rise to fame and the evolving cultural landscape in the United States during the 1950s and 1960s.

Like many films, the events start much later than the main story, in this case, 1997. Parker is on his deathbed and ruminates about how he first met Elvis and made him into a legendary icon.

Much of the film takes place in glitzy Las Vegas where Elvis had a long-term residency though it’s worth noting that the star’s working-class roots and an impoverished upbringing in a mostly black neighborhood were a tremendous influence on his music.

The Vegas setting applies a sparkling veneer mixed with a downtrodden feeling of isolation, especially in scenes that show Elvis’s million-dollar penthouse view of Sin City. The star frequently pulls all the black curtains to reside in solitude.

Butler starts slow but ends up doing a fabulous job of portraying the iconic star, no easy feat. At first, I had difficulty buying the actor as Elvis but as time went on he becomes more immersed in the role.

The best scenes hands down occur during the performances. The sheer rawness of his act and the famous wiggle that left fans dizzy with eroticism are compelling and authentic to say nothing of titillating.

The young actor exudes charisma much as the real-life star does and this is most evident on the stage. The dramatic scenes don’t work as well and Luhrmann strangely skims over the controversial weight gain years, the 1970s, that Elvis experienced.

I expected Butler to don a fat suit but there was none of this.

This miss can almost be forgiven when a heart-wrenching final performance of ‘Unchained Melody’ by the real Elvis is showcased. The number is fraught with emotion and tenderness that left me feeling sympathy.

Hanks is good as the slimy and curmudgeonly manager but I never felt sympathy for the character. If the film can be believed, he ruined Elvis as much as brought him success, but Hanks never made me forgive the man. I also wasn’t interested in his backstory.

It will be hard-pressed to ever make me enjoy Hanks more than in his Oscar-winning back-to-back turns in Philadelphia (1993) and Forrest Gump (1994), his two best roles.

Elvis, the film, does better when it serves as a musical performance rather than a biography. Sure, the drug use and the disputes with family and manager are dramatic but it’s the performances of ‘All Shook Up, ‘Unchained Melody’, and ‘Can’t Help Falling Into Love’ that win me over.

In pure Luhrmann form, many of the familiar songs are done in different tempos and interpretations but that’s part of the fun.

Comparisons to recent musical biographies like Bohemian Rhapsody (2018) and Rocketman (2019) are fair.

Elvis (2022) is not as good as those films but it’s above average and succeeds when it entertains and shows how the star’s determination and grit pulled through outside influences.

Oscar Nominations: Best Picture, Best Actor-Austin Butler, Best Cinematography, Best Production Design, Best Film Editing, Best Sound, Best Costume Design, Best Makeup, and Hairstyling

2006 Films, Crime Thriller, Dan Brown, Ian McKellen, Ron Howard, Thriller, Tom Hanks

The Da Vinci Code-2006

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The Da Vinci Code-2006

Director Ron Howard

Starring Tom Hanks, Audrey Tatou

Scott’s Review #1,223

Reviewed January 23, 2022

Grade: B+

Based on the best-selling 2003 novel written by Dan Brown, Ron Howard directs the film version of The Da Vinci Code (2006). Since I haven’t read the novel at this writing I cannot fully give a fair assessment from the perspective of comparison but my hunch is that the book is superior to the film.

Isn’t it usually?

The film is entertainment personified and Howard wisely casts a big name like Tom Hanks to draw audiences to the theaters.

It’s a slick and adventurous thrill-ride which is all well and good but it’s also a type of film that you can see once, enjoy for what it is, and then never need to see again.

The most fun is the controversy the film, like the book, encountered.

It was met with especially harsh criticism by the Catholic Church for the accusation that it is behind a two-thousand-year-old cover-up concerning what the Holy Grail is, the concept that Jesus Christ and Mary Magdalene were married, and that the union produced a daughter.

So, those who are sensitive or uptight about religion may want to skip the film and the novel.

But this is Hollywood, after all, and Howard and Hanks do what they do best. They create and produce a fun, solid, blockbuster flick.

When the curator of the Louvre is found murdered in the famed museum’s hallowed halls, Harvard professor Robert Langdon (Tom Hanks) and cryptographer Sophie Neveu (Audrey Tautou) must untangle a deadly web of deceit involving the works of Leonardo da Vinci.

The most enjoyable parts are the locales and the focus on art. The famous Louvre in Paris, France permitted to film relevant scenes at their premises but only a replica of the Mona Lisa was used during filming as the crew was not allowed to illuminate the original work with their lighting.

The Westminster Abbey scenes were instead filmed at Lincoln and Winchester cathedrals.

The Parisian nightlife is gorgeous and murky in its depiction and a plentiful helping of sequences are shot throughout the United Kingdom with Scotland and England receiving the most representation.

So, while strict limitations were harbored, there is an international flavor to The Da Vinci Code that works wonderfully, especially for those who have traveled to those locations.

For art lovers, particularly of da Vinci himself, there is satisfying respect for the art. I always attempt to improve my art knowledge so this film is helpful to me and the novice art fan to educate themselves and learn more about the subject.

Hanks, as usual, carries the film in his steady-Freddy approach.

While not as compelling as his roles in either Philadelphia (1993) or Forrest Gump (1994), the actor can convey his suspicious plight and the need and desire to solve the complex puzzle.

Audiences will follow suit.

The Da Vinci Code (2006) was riddled with bad reviews and jest mostly at its ridiculous plot and absurd story. While there is a grain of truth to this, I found the film enjoyable entertainment and that’s all I expected out of it.

The film pleases and satisfies if not taken too seriously.

1992 Films, Bill Pullman, Comedy, David Strathairn, Geena Davis, Madonna, Penny Marshall, Rosie O'Donnell, Sports, Téa Leoni, Tom Hanks

A League of Their Own-1992

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A League of Their Own-1992

Director Penny Marshall

Starring Geena Davis, Tom Hanks

Scott’s Review #970

Reviewed December 18, 2019

Grade: B

Sports films are too often predictable affairs with fairy tale endings. They are also typically male-driven.

A League of Their Own (1992) is warm and sentimental, and while director Penny Marshall plays it way too sweet and safe for my tastes, there is a measure of feminism that is admirable and a bit different.

The cast is well-known and provides professionalism and energy, but the film is little more than mediocre and strikes out towards the end with a far too pretty ending, doing exactly what these genre films normally do. It’s as if Marshall has a great idea but then decides not to teeter too far left of center.

Beginning in 1988 (present times), elderly Dottie Hinson attends an opening of the new All-American Girls Professional Baseball League exhibit at the Baseball Hall of Fame. She reunites with several of her former teammates and friends, prompting a flashback to 1943 when the main story takes place.

With many young men off fighting World War II, the Major League Baseball franchise is at risk. A women’s league is bankrolled which prompts the recruitment of several players, forming the Peaches and the Belles. They face off in the World Series to dramatic effect.

To be fair, the film is nice and welcoming, providing a haven for filmgoers seeking a solid story and a heartwarming sensibility. The lead actors, Tom Hanks and Geena Davis, respectively the team manager and star player, provide strength and do the best they can with the roles given.

During the early 1990s, both were big stars and while their characters are not romantically linked, their chemistry is zesty. Hanks as Jimmy is a bit predictable and gruff, at first being little more than a male chauvinist, but eventually coming around to respect the women.

For fans of the sport of baseball, the film will be delightful. With enough action scenes on the outdoor diamond to please those fans, one might forget that the teams are made up of women. The demographic sought after is female, but the sunny settings and standard hot dogs, peanuts, and popcorn result in the film drawing a wholesomeness that should also please men.

The supporting characters are too one-dimensional and cliched. The biggest offenders are the characters of “All the Way” Mae Morabito (Madonna) and Doris Murphy (Rosie O’Donnell).

The pop star, a horrid actress, in my opinion, is written way too corny, cracking gum and talking tough, while O’Donnell is intended to be her sidekick. The duo is street-smart and grizzled New Yorkers, but the casting never really works, and the action feels very formulaic, losing its luster very early on.

While Marshall incorporates brief moments of tragedy, one minor character’s husband is killed in action during the war, and all the action is safely in the United States, the war serving as more of a backdrop than a major player.

More common are syrupy scenes between characters who at first have a miscommunication or misunderstanding, but then forge their way to a close bond. And do we ever really believe Jimmy will not become the women’s biggest fan?

A League of Their Own (1992) is a decent watch and marginally enjoyable in a fluff way. It provides little edginess and could have provided darker story points than it does.

Instead, it shows a slice of Americana and Apple Pie approach that while not all bad, is not all good either, feeling limited by its sentimentality.

The film could be much worse and possesses characters that the viewer can root for and cheer along with a home run or a safe slide into third base. This is mainly a result of the stellar cast that Marshall presents.

2019 Films, Animated, Best Animated Feature Oscar Winners, Bill Hader, Children, Disney, Jay Hernandez, John Ratzenberger, June Squibb, Keegan-Michael Key, Pete Docter, Rashida Jones, Tom Hanks, Tony Hale

Toy Story 4-2019

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Toy Story 4-2019

Director-Josh Cooley

Voices-Tom Hanks, Tim Allen, Annie Potts

Scott’s Review #966

Reviewed December 10, 2019

Grade: B

Toy Story 4 (2019) is the fourth installment in the Pixar/Disney-produced Toy Story series, now nearly twenty-five years old!

The glitter is beginning to fade on a once endearing franchise and hopefully, this is the last one- additional segments are not needed unless desperation develops.

After a slow start and too many retread moments, the film shows bombast and familiar heart and tenderness in the finale, presumably wrapping up the long story with a neat bow.

The animation is vivid and colorful, almost astounding, making up for an unnecessary story.

In a flashback sequence, nine years after Toy Story 2, Bo Peep (Annie Potts) is donated to a new owner, and Woody (Tom Hanks) begrudgingly decides to maintain his loyalty to the owner, Andy.

Years later and now a teenager, Andy donates a forgotten Woody to a young child named Bonnie, who lacks the affection for the toy that Andy had. When Bonnie makes and bonds with Forky, a toy made of plastic, Woody struggles to convince Forky that each is more than garbage.

When Bonnie and her parents embark on a summer road trip to an amusement park, Woody and other familiar faces are along for the ride.

The group meets other forgotten toys, some benevolent and some sinister, at the park and a nearby antique store. Woody’s dear friend and comic relief, Buzz (Tim Allen), is in the mix and helps all the toys realize that they are not forgotten and that they can still bring joy to children.

The film provides an unwieldy list of celebrities in major and minor roles. The incorporation of characters like Chairol Burnett, Bitey White, and Carl Reineroceros (voiced naturally by Carol Burnett, Betty White, and Carl Reiner) may not be necessary, but it’s fun to watch the credits roll and see who’s who from the cast.

The minor characters are little more than window dressing, but the creativity is admirable.

The main story of abandonment, loyalty, and discarding of one’s toys is ample and nice but has occurred in every segment thus far in the series.

Do we need to see this again? Yes, it is an important message for both children and adults, but why not simply watch the first three installments of Toy Story, each brilliant in their own right?

Toy Story 4 plays by the numbers with little surprises.

One glaring notice is how almost every single adult is either incompetent or played for laughs. I get that the main draw is the toys and outsmarting the adults is half the fun, but when Bonnie’s father assumes his navigation system is on the fritz, rather than catching on to the fact that one of the toys is voicing the system, one must shake his or her head.

Suspension of disbelief is required more and more in these types of films.

Toy Story 4 picks up steam in the final twenty minutes with a thrilling adventure through the amusement park and a cute romance between Woody and Bo Peep.

When the long-forgotten toy Gabby Gabby (Christina Hendricks) emotionally rescues a lost child, she is rejuvenated and breathes new life into both the child’s life and her own.

In a darling moment, Forky meets another creation named Knifey. Knifey suffers from the same existential crisis as Forky once did, and Forky immediately becomes smitten with her, both realizing that even though they are odd-looking, they still matter.

The nice lesson learned is that even toys from the 1960s and 1970s can provide warmth and comfort to a young child and are more than “of their time”. This is a clear and bold message that correlates with human beings and how advanced age does not come with an expiration date.

Everyone matters and brings importance. The overlying theme is heartwarming and central to the film, bringing it above mediocrity.

What should certainly be the final chapter in a tired franchise that continues to trudge along, the bright message and strong animations remain, but the film feels like a retread.

Given that Toy Story 3 was made in 2010, Toy Story 4 (2019) needs to bring the series to a conclusion before installments 5, 6, 7, or 8 result in dead on arrival.

Oscar Nominations: Best Animated Feature Film (won), Best Original Song-“I Can’t Let You Throw Yourself Away”

2019 Films, Drama, Marielle Heller, Tom Hanks

A Beautiful Day in the Neighborhood-2019

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A Beautiful Day in the Neighborhood-2019

Director-Marielle Heller

Starring-Matthew Rhys, Tom Hanks

Scott’s Review #964

Reviewed December 6, 2019

Grade: A

Any viewer seeking a weepy affair should look no further than A Beautiful Day in the Neighborhood (2019). The film is sentimental, without ever feeling sappy or overwrought, instead abounding with freshness and authenticity.

Tom Hanks is brilliant as the iconic children’s television personality and Matthew Rhys holds his own as he gives a fantastic performance as an angry journalist tasked with doing a magazine article on the legend.

The film is heartwarming and teary with a poignant and inspirational message, and in 2019 we could all use a little Mister Rogers in our lives.

The time-period of the film is 1998, and on the outs with his father Jerry (Chris Cooper), Lloyd Vogel (Rhys) works for Esquire magazine as a writer. Both attend Lloyd’s sister’s wedding where the two men come to blows over past disputes, ruining the wedding reception and reigniting their feud.

Lloyd’s wife, Andrea, serves as a mediator when their newborn son becomes an interesting link between father and son. When Lloyd meets with Mister Rogers (Hanks), he at first is skeptical of the man’s benevolence, but the two men slowly develop a strong bond, forging a deep friendship.

Director, Marielle Heller drew acclaim for her recent film, Can You Ever Forgive Me? (2018), a project about a grizzled New York writer.

Once again, her lead character is a dark and troubled writer, but with enough humanity bubbling under the surface to make the character likable. The contrast between the two main characters (Lloyd and Mister Rogers) is palpable and central to the story, making it intriguing and successful.

Her message is a strong lesson in humanity.

The setup is tremendous for anyone possessing a clue to the unconditional kindness that Mister Rogers has. He not only adores children but all mankind and, as referenced, he is attracted to wounded or broken people.

The legend sees the goodness in all human beings and focuses on everyone he speaks with rather than on himself. What a wonderful message of patient, goodness, and empathy Heller carves from start to finish.

No surprise is how Rogers teaches Lloyd to accept and forgive Jerry. During a thrilling scene Lloyd lashes out at his father, reminding him that when he was bedding other women, his wife (Lloyd’s mother) lie riddled with cancer, not dying in peace, but screaming with agony.

The irony is that Jerry is now at death’s door, attempting to make amends with Lloyd before he dies. Both men are wounded and damaged, but because of Mister Roger’s kindness, come to an understanding. The message is lovely and kind.

I was surprised at how emotionally fulfilling the film turns out to be. Mister Rogers simply cares, and one can easily slip into a fantasy that as he sits and holds a conversation with Lloyd, gazing whimsically and thoughtfully into his eyes, that he is gazing into our very own eyes.

I sure did and what a powerful emotion that conjures. When Mister Rogers asks to take a moment of silence to think about the people who have shaped our lives, there is no doubt that each member of the movie theater audience did just that.

Hanks is a godsend and simply perfect in the role. Known to be a kindly humanitarian himself, he easily slips into the role of Mister Rogers and imitates the mannerisms perfectly. Especially impressive is when Danny, a puppet bear, appears on screen.

Smart viewers will realize that Rogers channels his own childhood through this character, and the pain he felt as an overweight child.

Hanks is a tremendous actor, winning Oscars for Philadelphia (1993) and Forrest Gump (1994), so we have every confidence in his ability to craft a new character so well.

A Beautiful Day in the Neighborhood (2019) wins the years award for the most emotion it will elicit from viewers. The familiar Mister Rogers Neighborhood tune will bring up memories and add a level of sentiment to a heartwarming film.

Instead of crafting a sterile or preachy film, Heller delivers a simple message of kindness and understanding and a lesson in accepting people as they are.

Oscar Nominations: Best Supporting Actor-Tom Hanks

2002 Films, Andrea Martin, Comedy, Independent, Independent Comedy, Independent Romantic Comedy, John Corbett, Lainie Kazan, Nia Vardalos, Rita Wilson, Romantic Comedy, Tom Hanks

My Big Fat Greek Wedding-2002

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My Big Fat Greek Wedding-2002

Director Joel Zwick

Starring Nia Vardalos, John Corbett

Scott’s Review #806

Reviewed August 28, 2018

Grade: B+

My Big Fat Greek Wedding is a romantic comedy from 2002 that became a surprising sleeper hit at the time of release. A novel story idea, the film was even recognized with a Best Original Screenplay Oscar nomination.

The film achieved success the old-fashioned way by garnering word-of-mouth buzz despite little promotion.

Good-natured, earnest, and tender, the film was nonetheless marred by an abysmal sequel and short-lived television series- a lesson learned in leaving well enough alone.

Comedian Nia Vardalos reportedly wrote the story as a one-woman play and word of mouth among Hollywood A-list celebrities led to a film version starring Vardalos herself. This casting choice adds enormous authenticity as the writer’s vision shines through on-screen.

The film has a fresh and modern feel to it. Otherwise, the supporting cast is brilliant and perfectly selected. From handsome love interest John Corbett to veterans like Lainie Kazan and Andrea Martin, everyone plays their part to the hilt and seems to be having a ball with the comic elements.

Dowdy Toula Portokalos is a lonely thirty-year-old Greek woman, considered the black sheep of her family. Of traditional roots, she is expected to marry and bear children as quickly as possible.

Toula still lives at home and works in the family restaurant in bustling Chicago, yearning for something more out of life.

When she sees dashing school teacher Ian Miller (Corbett) in the restaurant one day, she makes an embarrassing attempt to catch his attention. Through a computer class, Toula blossoms and finally lands her man, but the drama is just beginning as the couples and their individual families’ differing cultures collide.

My Big Fat Greek Wedding is written very well and, again, the authenticity is what shines through in each scene. Admittedly, it often feels like a television sitcom and many scenes play for obvious laughs, but the laughs work. The funniest of these scenes is when Toula and Ian (now engaged) decide to invite his parents to dinner at her parent’s house.

Predictably, events go awry as his parents-conservative and reserved, do not mesh well with hers-festive and bombastic.

Vardalos and Corbett may not have the greatest chemistry in film history, but the build-up and the romance are so charming that we can overlook the lack of lustful vigor or the sexual tension between the pair.

The film feels more like a PG-rated Cinderella story than anything heavier. Predictably, the couple shares a happily-ever-after ending.

As much of a jewel as My Big Fat Greek Wedding was in 2002, the risk with a film of this nature is to hold up well over time. Specifically, in the romantic comedy genre, films of this ilk have a short relevant shelf-life (if deemed relevant at all).

The humorous Windex references may be lost on audiences over time or just become stale over the years.

Some can deem My Big Fat Greek Wedding (2002) as fluff- mainly based on the romantic comedy genre it exists in. But it’s of better worth than that, mainly because of the fresh and genuine use of culture and differing backgrounds.

The film has a quality that most of the standard “rom coms” do not possess, that of authenticity. Yes, it contains Greek stereotypes, but the overall vibe of the film is that of a sunny, fun, happy experience.

An uplifting film can sometimes be just what the doctor ordered.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Debut Performance- Nia Vardalos (won)

2004 Films, Adventure, Children, Christmas, Fantasy, Josh Hutcherson, Robert Zemeckis, Steven Tyler, Tom Hanks

The Polar Express-2004

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The Polar Express-2004

Director Robert Zemeckis

Starring Tom Hanks

Scott’s Review #800

Reviewed August 8, 2018

Grade: B+

The Polar Express (2004) is a modern entry into the annals of holiday film history. Along with treasures like Rudolph, Frosty, the Grinch, and all the other standards, this film has become a popular one to watch throughout the season.

The film is not exactly like the others, since it is the first of its kind to incorporate live human characters animated using live-action motion capture animation.

The mood of the film is mysterious, edgy, and with a dark tint, so jolly it isn’t, but compelling it is, and visually is a marvel.

The story is as follows- on a snowy (naturally!) Christmas Eve, a young boy living in Grand Rapids, Michigan, is doubtful of the existence of Santa Claus. When a steam locomotive suddenly appears outside of his house, he curiously boards the train to find a mysterious conductor (Tom Hanks) manning the train.

As the train rolls away the boy meets two other children on board and stops for another one, also reluctant to get on. They begin a dazzling, frozen adventure to the North Pole with the promise of receiving the first gift of Christmas from Santa Claus himself.

The main reason to recommend The Polar Express is simply for the gorgeous visual treats offered. In 2004 the film was a unique experience and I fondly recall sitting in a dark movie theater observing the film for the first time.

There was a magical element to the surroundings, combining intrigue and fantasy that still holds up well.

For adults, I do not think the film is at all scary, but I have heard some reviewers complain that the moody ingredients are a bit frightening for children so there is that concern. 

A major component is the mixture of human beings and animated tools. The familiar actor who everybody knows is Tom Hanks as the conductor. Therefore, to sit back and observe the character is a wonderful thing- is it Tom Hanks or is it an animation?

It is ultimately both, but the fun is in the observation and wondering how the filmmakers created this experience.

And listen for Hanks in other voice performances throughout the film. 

The story (or fable) itself is warm and fairly predictable. But, of course, being largely made with kids in mind, this is to be expected. There is never a doubt that the boy (interestingly never given a name) will ultimately believe in Santa after all and live happily ever after.

The magic is in the details, though- the boy’s journey to this realization is peppered with fun and creative richness- the little girl’s floating ticket and an ornament falling off a Christmas tree are good particulars. 

Director, Robert Zemeckis, and Hanks worked closely together in Forrest Gump (1994) so the pair are familiar with each other, creatively speaking. Hanks undoubtedly had much input into the decision making and it shows. 

I do not personally rank The Polar Express (2004) among the best of the best holiday film offerings, but I support an occasional dusting off of this work for viewing pleasure.

Perhaps over time the animations may become dated or seem less dazzling, but the film is still to be appreciated for its creative elements. The story is nothing spectacular (in a way Scrooge for kids) but makes for a pleasant family viewing experience. 

Oscar Nominations: Best Song-“Believe”, Best Sound Editing, Best Sound Mixing

2018 Films, Colin Firth, Julie Walters, Meryl Streep, Musical, Richard Curtis, Tom Hanks

Mamma Mia! Here We Go Again-2018

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Mamma Mia! Here We Go Again-2018

Director-Ol Parker

Starring-Lily James, Amanda Seyfried

Scott’s Review #797

Reviewed July 31, 2018

Grade: B+

My expectations for Mamma Mia! Here We Go Again (2018) was not lofty was I anticipating drivel. I expected (and was in the mood for) a summer popcorn musical flick with fun, dancing, and little in the way of analysis or requiring too much thought.

I can proudly say that my expectations were fulfilled with this film- it delivers what the intent is and sometimes that is exactly what the doctor ordered.

The film is enthusiastic and lively, with the musical numbers serving as the standouts.

In an immediate plot twist, it is revealed that the main character Donna (Meryl Streep) has died a year earlier and her daughter Sophie (Amanda Seyfried) is planning a lavish reopening of her hotel on the beaches of Greece.

The film serves as both a sequel and a prequel as events also go back to 1979 when a young Donna (Lily James) graduates from college and embarks on a journey to “find herself”. She travels extensively and meets her three beaus (anyone who saw the 2008 original will be familiar with this plot) and the film is great at connecting the events of both films in a pleasing way.

Mamma Mia! Here We Go Again is hardly high art and not intended to be. It is a bit sub-par to the original if truth be told as some of the musical numbers are “secondary” ABBA songs. The biggest hits were used in the 2008 film.

The overall plot feels a bit forced and not exactly compelling drama either- especially since we know what the eventual result of Donna’s relationships will be. The story seems geared towards a bombastic finish.

But the sheer fact that the song and dances are interspersed throughout the film makes it enjoyable enough.

The film plays more like someone’s fantasy than a real-life sequence and liberties must certainly be taken.  Everything always seems to go Donna’s way and events merely fall into place- if only real life were that way!

The introduction of Donna’s mother (Sophie’s grandmother) – explained to be a rich and famous singer residing in Las Vegas, is a way to add the legendary Cher to the story. Disappointing, the star does not appear until the end of the film, more like a cameo appearance.

This leads me to the best parts of the film, which occur during the final thirty minutes. As Sophie’s grand hotel reopening party comes to fruition (a devastating storm thrown into the story is purely for dramatic effect), all details fall into place in magical form.

Hundreds of party guests show up, Donna’s beaus reunite, and the aforementioned absentee grandmother (Ruby) makes a grand entrance via helicopter (in stiletto heels naturally). In this way, the grand finale is superior to the rest of the film.

Cher, still looking gorgeous at age seventy-two, is the pure highlight of the film and it kicks into high gear when she appears. Considering all of the hype and press surrounding a film reunion between Cher and Meryl Streep- they starred together in 1983’s Silkwood- it should come as no real surprise that Streep’s deceased Donna makes an appearance.

The two best scenes come at the end of Mamma Mia! Here We Go Again! As much as the lavish Cher demands the grand finale in terms of glamour and song, it is Streep’s touching duet with Sophie that will bring tears to the viewer’s eyes and capture the emotional element of the film.

As Streep and Seyfried churn out a gorgeous rendition of “My Love, My Life”, the mother/daughter relationship between the actresses is lovely and will fondly remind audiences of the chemistry in the 2008 film.

In regards to Cher, the revelation that Ruby is a long-lost lover of the hotel manager, Fernando (Andy Garcia), is sweet and romantic. Despite limited screen time, the duo shares wonderful on-screen chemistry, so much so that I yearned to know the back story of their relationship.

Do we only know that they were madly in love in 1959? Why did it not work out?  Regardless, Cher’s version of the song “Fernando” is both appropriate and enchanting.

Mamma Mia! Here We Go Again (2018) is a summer film sure to please audiences eager for a fluffy musical.

With bright and cheerful Greek island locales, lavish oceans, and bombastic feel-good pop sensibilities, this film was marketed well and shares enough connection with 2008’s Mamma Mia! to enrapture and please audiences who enjoyed the first version.

1993 Films, Ann Dowd, Antonio Banderas, Bradley Whitford, Charles Napier, Denzel Washington, Drama, Jason Robards, Joanne Woodward, Jonathan Demme, LGBTQ+ Drama, LGBTQ+ Films, Mary Steenburgen, Tom Hanks

Philadelphia-1993

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Philadelphia-1993

Director Jonathan Demme

Starring Tom Hanks, Denzel Washington

Scott’s Review #782

Reviewed July 3, 2018

Grade: A

Having the powerful distinction of being one of the first Hollywood LGBT films to deal with heavy issues such as HIV/AIDS and homophobia, Philadelphia (1993) is a film to champion.

The film does contain some less-than-positive stereotypes across the board, but was a tremendous box office success and more importantly introduced a large audience to a still (at that time) taboo subject.

Hopefully, this had a tremendous effect on creating an understanding of a vicious disease and its ramifications.

Tom Hanks deservedly won the Best Actor Oscar for his lead performance of an AIDS and discrimination victim as did the heartbreaking theme song “Streets of Philadelphia”, penned by Bruce Springsteen, win for Best Original Song.

Director Jonathan Demme creates a world quite realistic in portrayal at the corporate level. Hotshot attorney Andrew Beckett (Hanks) has a promising future at one of the country’s largest law firms in Philadelphia.

Assigned a high-profile case, it is noticed that Andrew has developed lesions across his body and is subsequently fired from the firm. After deciding to sue the firm and having no luck finding an attorney to represent him, he finally meets struggling black attorney, Joe Miller (Denzel Washington), who begrudgingly takes the case to gain exposure.

Philadelphia is a film that is a courtroom drama with a cause and is firmly ensconced in the “message movie” genre.  A lesser version, and perhaps one made even a decade or so after 1993, might be reduced to the Hallmark television movie category.

Fortunately, the timing is perfect and Philadelphia can be remembered as a film championing LGBT rights.

Hanks’s performance is just dynamic- his character is meant to be empathetic, a victimized man unjustly suffering not only discrimination but a death sentence. The audience knows what is to come and as Andrew loses more weight and appears more sullen and haggard, the tale increases in sadness.

The final act of Andrew’s court victory is to be celebrated, but also is heartbreaking as a feeble and dying Andrew now lies close to death.

Hanks brilliantly infuses Andrew with courage, heart, and values, so much so that he becomes a hero to the audience even if their sexuality is different than his.

As much as the undying love for Hanks is deserved, the powerful supporting cast is a treasure. Washington is not as sympathetic a character as Andrew is, but learns a lesson and eventually leaves his machismo on the sidelines.

The heart-wrenching death scene culminating in the hospital room involves lover Miguel (Antonio Banderas), surrounded by Andrew’s family, all-embracing as one. There is beauty mixed with tragedy in this one scene alone.

Even Mary Steenburgen as the tough defense lawyer shows some heart. And who can say more about the dynamic Joanne Woodward as Andrew’s mother?

Unfortunately, there are a few stereotypes to endure, and sadly many early LGBT films (and some still do!) include these for emphasis- or perhaps ignorance? Nonetheless, these make the film seem slightly dated given the LGBT progress made in the decades since the film was released.

Joe Miller is portrayed as a macho guy afraid to be viewed as gay- he even jokes around about being a “man” with his wife. Joe also grimaces when he shakes hands with Andrew and suddenly realizes Andrew has AIDS.

Nearly all of Andrew and Miguel’s gay friends are effeminate- this hardly seems possible.

Such is a monumental achievement when a film breaks barriers by telling a story of critical importance. Philadelphia (1993) does just that by patiently asking its audience for tolerance, understanding, and heart.

In return, the film educates, floods with emotion, and breaks hearts. Other LGBT films would come along that were arguably even better, but Philadelphia is a groundbreaking experience sure to be remembered as the first of its kind.

Oscar Nominations: 2 wins-Best Actor-Tom Hanks (won), Best Original Screenplay, Best Original Song-“Streets of Philadelphia” (won), “Philadelphia”, Best Makeup

1998 Films, Andrew Scott, Bryan Cranston, Drama, Epic, Giovanni Ribisi, Matt Damon, Paul Giamatti, Steven Spielberg, Ted Danson, Tom Hanks, Tom Sizemore, Vin Diesel, War

Saving Private Ryan-1998

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Saving Private Ryan-1998

Director Steven Spielberg

Starring Tom Hanks, Tom Sizemore

Scott’s Review #778

Reviewed June 26, 2018

Grade: A

Famed director Steven Spielberg does not always get his due respect. This is usually because, for better or worse, he has become synonymous with the “blockbuster” film, drawing comparisons to either lightweight fare or films of “lesser” artistic merit.

His 1980’s works- Raiders of the Lost Ark (1981), E.T. the Extra-Terrestrial (1982), and Indiana Jones and the Temple of Doom (1984), were enormous commercial successes, though I enjoyed all of the films.

During the 1990s Spielberg continued to direct “popcorn flicks” such as Hook (1991) and Jurassic Park (1993), with large studio budgets, but with somewhat less critical acclaim.

Finally, he was able to change many opinions with 1993’s Schindler’s List and the war film to end all war films, Saving Private Ryan (1998), an epic, profound experience.

Both received numerous Oscar nominations and success at the box office.

The film is a tremendous treat for nothing other than the riveting opening sequence alone (more about that later). If that is not enough to impress, Saving Private Ryan is known for infusing a very graphic element into the war film- with no letting up from the brutality.

Spielberg does not water down this picture, instead shows the pain and angst of war. The film is helped tremendously by the casting of Hollywood superstar Tom Hanks, who leads an enormous cast of mainly young men.

Saving Private Ryan opens with a prologue- in present times a veteran brings his family to visit an American cemetery at Normandy. Flashbacks then take the audience back to the Omaha Beach debacle in 1944, where American troops faced deadly German artillery attacks in France.

After the horrific three-day D-Day, it is learned that three of the four Ryan sons have died in the events. Captain Miller (Hanks) is ordered to bring a team of men to Normandy and bring the fourth Ryan son (Matt Damon) to safety.

Spielberg’s opening D-day sequence is just astounding and propels the film to unforgettable status. With a running time of twenty-four minutes, the riveting and horrific slaughter of American soldiers is intensely brought to the screen.

Audiences undoubtedly sat open-mouthed (I know I did!) as bullets riddled the beach and left soldiers killed or with limbs torn off. The camera-work is brilliant as the use of a shaky technique, almost documentary style is used for effect.

Successful is this sequence at promoting an anti-war sentiment while not glorifying the combat at all. The scene will stay with its audience for years to come.

Saving Private Ryan can be compared to the decades later Dunkirk (2017) in that each film took the war genre and turned it upside down.  The similarities between the films start with the obvious- the main events in both films are during World War II, the same week, and the French beach settings making the films perfect companion pieces.

Both films feature a gray, rainy setting with many horrific moments of death and suffering. The war film is a common genre that has historically teetered on predictability and over-saturation, but both films do something completely different and unexpected, yet mirror each other in style.

To counter-balance the violence in the opening sequence, a quiet scene is created and remains one of my favorites. The scene contains almost no dialogue throughout the seven-minute duration and is pivotal to the entire film.

As a typist realizes that three letters of death are to be delivered to the same family, a woman on a mid-west farm quietly washes dishes and is calmly horrified when she sees a government car approaching.

What else can this mean but that one of her sons is dead? The poor Mrs. Ryan will be told that she has lost not one, but three sons.

How utterly unimaginable and the scene is incredibly touching!

The best part of Saving Private Ryan is that Spielberg provides a deep level of sentimental vision combined with the terrible atrocities of war. He portrays not only the violent effects of the battles on the soldiers but also the surviving families.

This is not always done in war films, at least not to the level that Spielberg chooses to.

With such a film as the startling Saving Private Ryan, Spielberg turned the war film genre inside out. Breaking barriers with a no-holds gusto, Spielberg influenced war films for years to come- Black Hawk Down and Enemy at the Gates (2001) are prime examples, and received acclaim from fellow directors for his interesting techniques.

Saving Private Ryan (1998) was an enormous financial winner at the box office, proving that great films don’t have to be watered down to find an audience.

Oscar Nominations: 5 wins-Best Picture, Best Director-Steven Spielberg (won), Best Actor-Tom Hanks, Best Screenplay Written Directly for the Screen, Best Original Dramatic Score, Best Sound Effects Editing (won), Best Sound (won), Best Art Direction, Best Cinematography (won), Best Makeup, Best Film Editing (won)

2017 Films, Bradley Whitford, Drama, Jesse Plemons, Meryl Streep, Michael Stuhlbarg, Political Drama, Tom Hanks

The Post-2017

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The Post-2017

Director-Steven Spielberg

Starring Meryl Streep, Tom Hanks

Scott’s Review #715

Reviewed January 15, 2018

Grade: A-

Amid the current political upheaval occurring during the year 2017 comes a fresh and quite timely film named The Post, created by esteemed director, Steven Spielberg, and starring two of today’s biggest Hollywood film stars- Tom Hanks and Meryl Streep.

The film is a political, historical thriller set during the tumultuous time of 1971, as the controversial Vietnam War raged on, and tells of the bravery of a female newspaper owner (Streep), who risked everything to publish the truth, along with her team of mostly male editors and staff.

The film is an intelligent piece of writing, with a crisp script and quick editing allowing for a believable foray into a different time, when newspapers were hot and rotary telephones, telephone booths, and polyester outfits were all the rage. Spielberg is brilliant at setting just the right mood and tone to transport the audience back to 1971- on the eve of the enormous Watergate scandal.

While all of the elements are in play, and the truthful story is important, the film is very good, but not quite brilliant- falling just shy of that bombastic one or two scenes that would land it over the top.

The Post begins in the jungles of Vietnam in 1965, as military analyst Daniel Ellsberg documents the progress of military activities among the soldiers during battle.

On the journey home, he briefs then-President Lyndon Johnson that the war is hopeless and should be stopped. As history unfortunately shows, the brutal war continued on with thousands of lives lost.

The film then continues on a journey of the uncovering of top-secret Pentagon papers documenting the White House’s knowledge of the useless nature of the war, but each administration chose to continue with the bleeding to avoid the United States being “humiliated”.

Streep gives her best performance in years as Katharine Graham, Washington Post newspaper heiress, a woman who struggles to be taken seriously in a man’s world- especially given the time period- many men were uncomfortable taking direction from a woman.

Streep infuses the perfect amount of emotion, insecurity, and charm into the role. Despite her wealth and her control, she is frequently overruled by the all-male board of directors, so much so that she often doubts her confidence.

Hanks, however, underwhelms as gruff editor in chief of the Post, Ben Bradlee. Given the enormous talents of the actor, I was expecting a meatier performance, which does not materialize. I also anticipated an equal balance of Hanks and Streep, but the film belongs to Streep.

Perhaps because Hanks (the ultimate nice guy) portrays Bradlee as a tough, yet family man, the performance does not quite work.

Also, the chemistry between Hanks and Streep is not the specialty of the film.

Evident is the correlation between 1971’s President Nixon and 2017’s President Trump- both administrations shrouded in controversy.

A neat trick Spielberg creates is to only show Nixon in shadows, wildly gesturing and threatening, similar to Trump’s mannerisms- this is no accident. The entire work of The Post seems a big call-out by Spielberg, a devout liberal, to the Trump administration.

This comparison of past and present makes The Post incredibly timely and topical for 2017.

Clever is the intriguing ending- as the Watergate scandal begins with a security guard catching intruders at the complex, Spielberg seems to be saying “watch out Trump!”

In 2017, the current state of the media versus the White House has never held more controversy, disdain, and even hatred as the “truth” is often tough to come by or even to distinguish.

“Fake news” is now a thing and Twitter rants are now a daily occurrence, making the “truth” a precious commodity.

For this reason alone, The Post must be a film to celebrate and model ourselves after- how timely indeed.

Oscar Nominations: Best Picture, Best Actress-Meryl Streep

2016 Films, Aaron Eckhart, Anna Gunn, Biography, Clint Eastwood, Drama, Katie Couric, Laura Linney, Tom Hanks

Sully-2016

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Sully-2016

Director Clint Eastwood

Starring Tom Hanks, Aaron Eckhart

Scott’s Review #623

Reviewed March 10, 2017

Grade: B

I think most film critics would agree that each modern film directed by Clint Eastwood would accurately be described as a compelling film yet safe film, and the 2016 Eastwood offering, Sully, fits into both of these categories snugly- just as Sully feels like a snug film.

Everything seems to fit into a nice package when the credits roll.

While the film is sympathetic and has leanings of a character study, it is also shrouded in a wholesomeness that is incredibly safe and “Hollywood.”

This is not a knock or a detriment to the film, as it is very good, well-made, and has a high budget. However, edginess is not its forte, and it might have been better off with a bit more grit.

The actual film recounts the lively, perilous recent United Airways flight 1549, on which the now-famous Captain Sully successfully landed in New York’s frigid Hudson River one January morning.

Tom Hanks is the subdued and unassuming hero to perfection as his calm demeanor and grounded persona make him a likable chap, to say nothing of saving 155 lives aboard the would-be doomed flight that day.

Instead of going in a purely linear direction, building up the events (gravitating passengers, takeoff) in sequential order until the inevitable crash, Eastwood wisely decides to begin directly after the crash.

Captain Sully, clearly jarred by the events, is startled awake by nightmares. He dreams of crashing into midtown Manhattan instead of safely landing the jet.

The hero is beginning to suffer from symptoms of PTSD.

He is kept in New York City for days on both a press tour, interview after interview, as well as being questioned by The National Transportation Safety Board, who wonder why Captain Sully did not return to a nearby airport for an emergency landing as simulated computer recreations show that he could have.

This leads to both Sully and First Officer Jeff Skiles (Aaron Eckhart) being put under a microscope and questioned.

I was a bit caught off guard and got slightly bored, as the film takes about thirty minutes to focus on the actual crash or show an airplane scene rather than building up the events by concentrating on Sully and Skiles’s mental health. However, in retrospect, Eastwood made a wise decision.

The entire film is barely over ninety minutes total, so the action comes fast and furious mid-stream.

Still, the film is not quite all that it could have been. Despite the potentially horrific consequences faced by an airplane blowing both engines due to the flocks of birds, I never got many extremely perilous moments during the film.

While technically well done, the danger scenes as Sully navigates the plane into the river lack much in the way of the punch.

Sure, there are a few quick shots of passengers praying or appearing frightened, but we never get to know any of the passengers very well.

A “don’t blink or you might miss it” scene of an elderly mother and her daughter shopping for a snow globe at the airport or three men rushing to catch the plane to catch a golf game in Charlotte is not enough for the audience to become too enveloped in their characters.

They almost seem thrown at the last minute as a way of personalizing the passengers.

As I mentioned above, the film’s point surrounds Sully (and arguably it should; there is nothing wrong with that) and, to a lesser degree, Skiles. The supporting characters contain no character development, and even Skiles’s personal life is not explored well.

Scully’s wife is only seen through phone conversations (played by Laura Linney), and he is happily married with two daughters. There is a brief talk about money trouble, but the wife is underdeveloped.

Additionally, the NTSB agents are portrayed as quite antagonistic towards Sully and Skiles (rumors abound that this was embellished for movie making), which makes sense.

I enjoyed the ending of the film- in tandem with the credits rolling- of seeing not only the real-life Sully but his wife and the passengers and crew of the actual United Airlines Flight 1549 through interviews and photographs.

This offering in true-life biography films is now a standard feature to look forward to as it brings a humanistic conclusion to the story just watched.

The film’s focus centers on Captain Sully, which is fine by me- the man is a hero- but as a film, and more than a biography, it might have added depth to have richer supporting characters and a more substantial background of the man that is Sully.

A few rushed childhood aviator and battle plane scenes seemed somewhat out of place.

Still, the film is pleasant and immensely watchable. It will not set the world on fire or be remembered as much more than a decent film based on a true story.

Oscar Nominations: Best Sound Editing

2010 Films, Animated, Best Animated Feature Oscar Winners, Bonnie Hunt, Children, Disney, Don Rickles, Estelle Harris, Joan Cusack, John Ratzenberger, Laurie Metcalf, Lee Unkrich, Michael Keaton, Ned Beatty, Pete Docter, Richard Kind, Tim Allen, Timothy Dalton, Tom Hanks, Whoopi Goldberg

Toy Story 3-2010

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Toy Story 3-2010

Director Lee Unkrich

Starring Tom Hanks, Tim Allen

Scott’s Review #562

Reviewed December 26, 2016

Grade: B+

It’s not easy for sequels to succeed in the creativity or originality categories, but surprisingly, Toy Story 3 (2010) is a fresh, imaginative, fun film.

The characters are charming, interesting, and heartwarming, and the film can avoid a sappy result.

Pixar has another hit.

Andy, now grown up and headed off to college, sees no reason to keep any of his childhood toys, now irrelevant and headed for the scrap box- at least that is what Woody, Buzz Lightyear, and friends, fear will happen as the dreaded day approaches.

They must scheme to avoid their fate.

Many interesting new toys are introduced to this franchise with unique personalities, thereby giving a fresh approach, yet not forgetting the past.

I adore how Toy Story 3 has many dynamic themes (loneliness, abandonment, togetherness), that play very well together with a nice message.

On a deeper level, the film reflects the modern era. People are so easily thrown out, forgotten, and abandoned, whether through a job, relationship, etc. so that makes this film a sad reality if one chooses to look at it that way, which most won’t.

Great movie for kids and adults alike with a meaningful, relevant message. The film is not a sugar-coated affair and offers a cold reality while remaining accessible.

Oscar Nominations: 2 wins-Best Picture, Best Adapted Screenplay, Best Animated Feature Film (won), Best Original Song-“We Belong Together” (won), Best Sound Editing

2015 Films, Alan Alda, Amy Ryan, Billy Magnussen, Coen Brothers, Drama, Historical Drama, Jesse Plemons, Mark Rylance, Noah Schnapp, Peter McRobbie, Sebastian Koch, Steven Spielberg, Tom Hanks

Bridge of Spies-2015

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Bridge of Spies-2015

Director Steven Spielberg

Starring Tom Hanks, Mark Rylance

Scott’s Review #399

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Reviewed April 28, 2016

Grade: B+

Tom Hanks teams with Stephen Spielberg once again in another A-list Hollywood film.

Like Saving Private Ryan (1998), Bridge of Spies (2015) is in the historical vein. This time, the Cold War is featured; the film begins in 1957.

The camera work, the artwork, and the set decorations are second to none as the film looks and feels authentic.

As interesting as the overall result is—it felt like I was watching a well-made film—there was also something missing, which did not make it truly riveting, and that is why it received a B+ rating.

With Spielberg and Hanks on board, one will get a quality film.

Hanks portrays James B. Donovan, a Brooklyn attorney specializing in insurance law, but a wiz at negotiation and experienced with the Nuremberg trials.

He is assigned to defend suspected spy Rudolf Abel (Mark Rylance) in what is assumed to be an open-and-shut case, his guilt is considered a given.

Abel has been arrested by the FBI and is thought to be a Russian spy. They are willing to release him on the condition that he reveal Soviet contacts, but he refuses.

Meanwhile, an American pilot, Frances Powers, is captured in Soviet territory and taken hostage. To make matters more complicated, an American graduate student, Pryor, is trapped behind the Berlin Wall in East Germany and not allowed by the Germans to leave.

The pressure is on Donovan to defend Abel in the United States but to make a deal to return the three men to their respective countries.

Hanks, a great actor, is his typical stoic, capable self, and his portrayal reminds me of his role in Captain Phillips (2013), calm, well-mannered- a clear yet quiet leader.

The role is not flashy compared to other legendary Hanks roles (Forrest Gump-1994, Philadelphia-1993). The film centers around Hanks and caters to his acting style. His character is always at the forefront.

Hanks never gives a bad performance and I admire him in almost anything.

Let’s discuss the role and the portrayal by Mark Rylance in his Oscar-winning role.

Giving a very subdued, nuanced performance, he is good and low-key in what could have been an energetic, over-the-top performance if written that way, but I am not sure I would have handed him the golden statuette over a few of the other nominees in the 2015 Supporting Actor category.

This isn’t a criticism, but I am unsure if he warrants an Academy Award.

Bridge of Spies is very detail-oriented and every set piece- from late 1950s cars, clothing, hairstyles, and home furnishings is spot on.

The film was expensive to produce and no expense seems to have been spared.

The film travels from Brooklyn to the Soviet Union, to Germany, and gives off a patriotic, Americana flare, which is true to life in the given time. There was such a sense of country and community.

Nothing makes this more apparent than the distasteful glares coldness and hatred displayed by many characters towards Donovan.

To counteract this, when Donovan is ultimately more the hero, he is revered and celebrated.

As great as the film looks, there is something slightly disconnecting about it. I was left wanting more from a story perspective and feeling slightly disengaged throughout parts of it. I was never riveted or blown away despite realizing I was watching a well-made film.

This can happen if the story is less compelling than the way the film looks as with Bridge of Spies.

After I finished watching I felt that I did not need to see the film again, in contrast to truly great films where one can watch over again.

A slight mention is that Bridge of Spies is a “guy’s film”. Amy Ryan, a great actress, does all she can with the only real female role in the film in that of Donovan’s dutiful, supportive wife, a role written one-dimensionally hundreds of times.

It is a shame her character is not fleshed out. The typical worried scenes or fretting for her husband to return home to his family are purely reactionary and do not further the plot.

In this sense, the film deserves criticism for being too traditional.

Bridge of Spies is a good effort but not a tremendous film. It is the type of film I liked but did not love.

Perhaps, the names Spielberg and Hanks on the marquee had me expecting more.

Oscar Nominations: 1 win-Best Picture, Best Supporting Actor-Mark Rylance (won), Best Original Screenplay, Best Original Score, Best Sound Mixing, Best Production Design

1994 Films, Best Picture Oscar Winners, Dick Cavett, Drama, Gary Sinise, Haley Joel Osment, Robert Zemeckis, Robin Wright, Sally Field, Scott's Top 100 Films, Tom Hanks

Forrest Gump-1994

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Forrest Gump-1994

Director Robert Zemeckis

Starring Tom Hanks, Robin Wright, Gary Sinise

Top 100 Films #94

Scott’s Review #362

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Reviewed January 9, 2016

Grade: A

Awarded a bevy of Academy Awards in the year 1994, Forrest Gump is a film that is engrained in many people’s memories since the film was a monster hit in the mid-1990s.

Some complained that the unrealistic nature of the film was silly, and the story too saccharine, but the film is an innocent, sweet piece about a simple-minded man’s journey through life and the insurmountable success that he achieves.

I adore the film largely from a sentimental standpoint and the memories that watching the film years later conjures up.

I find the film to be a comfort.

Zemeckis, a feel-good film director (Back to the Future-1985, Who Framed Roger Rabbit? -1988), carves a whimsical tale of a fellow, Forrest Gump (played brilliantly by Tom Hanks), a slow-witted, but gentle soul, from Alabama, and his decades-long journey through life.

His lifelong love is Jenny (played by Robin Wright), who is a troubled girl and relies on Forrest over their friendship spanning decades.

Forrest is always in the right place at the right time and influences the events of history in his innocent way.

Forrest Gump is unique in its clever use of editing to incorporate Forrest into real-life historical events, which is a big part of the appeal of the film.

In one instance, Forrest meets with Richard Nixon and reveals the Watergate scandal. He also met President John F. Kennedy after winning a football scholarship.

And who can ever forget the numerous lines made famous from the film- “Stupid is as stupid does”, and “Life is like a box of chocolates. You never know what you are going to get.”, to name just two.

What I love most about the film is that it has heart and the relationships that Forrest shares with the central characters in his life are rich. Forrest’s haggard, but kind mother (Sally Field) loves her son and they share a tender, emotional relationship.

When Forrest enlists in the Army during the Vietnam War, his grizzled commanding officer, Lt. Dan Taylor (an Oscar-nominated performance by Gary Sinise), surprisingly becomes one of Forrest’s closest friends.

The film takes a darker turn when we begin to see a more human side to Taylor after a horrible accident, which leaves him without legs. To counterbalance this tragedy, Forrest is comically wounded in the buttocks.

I am not sure if I love or loathe the character of Jenny. Wright is perfect at giving her some vulnerability and her terrible upbringing can excuse some of her actions and take advantage of Forrest for arguably her gain.

Still, she has Forrest’s heart so she cannot be all that bad.

A favorite scene occurs in Washington as Forrest speaks at an anti-war rally. Jenny, in the crowd, recognizes Forrest and their reunion is sweet. Jenny, now a hippie and expelled from school, returns to Forrest’s life.

The fate of both Jenny and Mrs. Gump are scenes that will undoubtedly require tissues to get through as they are tender and emotional as can be.

Zemeckis’s Forrest Gump (1994) has emotion, sweetness, and heart, and those are nice qualities for a film to have.

It is not too sappy overwrought or manipulative, instead provides an honest story.

Oscar Nominations: 6 wins-Best Picture (won), Best Director-Robert Zemeckis (won), Best Actor-Tom Hanks (won), Best Supporting Actor-Gary Sinise, Best Screenplay Based on Material Previously Produced or Published (won), Best Original Score, Best Sound Effects Editing, Best Sound, Best Art Direction, Best Cinematography, Best Makeup, Best Film Editing (won), Best Visual Effects (won)

1984 Films, Comedy, Lowest Rated Films, Tawny Kitaen, Tom Hanks

Bachelor Party-1984

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Bachelor Party-1984

Director Neal Israel

Starring Tom Hanks, Tawny Kitaen, Adrian Zmed

Scott’s Review #163

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Reviewed September 1, 2014

Grade: D

Watching Bachelor Party (1984) for the very first time circa 2014, and the last time I plan on watching this film, I realized almost immediately how dated it is and at this point can only be presumably enjoyed for nostalgia purposes.

I can’t fathom anyone watching Bachelor Party for the first time and thinking it is a great film- it is not.

If not for Tom Hanks becoming a huge star this comedy would be forgotten as there are dozens of like-minded films from the 1980s that resemble it- think Pretty in Pink (1986), National Lampoon films, etc.

The premise is basic- Rick (Hanks) and Debbie (Tawny Kitaen) are engaged and Rick’s friends throw a Bachelor party while Debbie goes out with the girls.

Of course, Debbie’s parents hate Rick and scheme, along with her ex, to break them up.

Every decade seems to have a similar carbon copy of this party-themed film- Animal House (1978), American Pie (1999), and The Hangover (2009) though not as entertaining as the aforementioned films.

All the characters are caricatures, one-note, and types. There is a little back story for any of them.

The plot is silly and predictable, and the 1980’s look to the film does not hold up well.

The film contains every stereotype imaginable- the meddlesome parents, Debbie’s vicious ex-boyfriend who is the film’s foil, various frat boys and sorority girl types, and Rick’s inept siblings.

Avoid, it unless a trip down 1980’s bad film memory lane is needed.

2013 Films, Biography, Bradley Whitford, Colin Farrell, Drama, Emma Thompson, Jason Schwartzman, John Lee Hancock, Kathy Baker, Paul Giamatti, Rachel Griffiths, Tom Hanks

Saving Mr. Banks-2013

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Saving Mr. Banks-2013

Director John Lee Hancock

Starring Tom Hanks, Emma Thompson

Scott’s Review #36

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Reviewed June 18, 2014

Grade: A-

Saving Mr. Banks (2013) is a movie that transports you back to the wonders of childhood.

It is a delightful, whimsical tale of how the story of “Mary Poppins” made it to the silver screen as a Walt Disney production in the 1960s and there were many challenges.

Emma Thompson and Tom Hanks (as author P.L. Travers and Walt Disney, respectively) prevent this film from being overly sentimental and even sappy, by their character portrayals.

Travers is a difficult, demanding woman, but Thompson adds layers to her so the viewer feels attached and sympathetic.

Tom Hanks portrays Disney to the hilt as patient and understanding. Travers’s backstory is heartfelt and interesting.

Saving Mr. Banks (2013) is a mainstream, Hollywood feature, but one that reeled me in from the get-go and never let up.

Oscar Nominations: Best Original Score

2013 Films, Action, Barkhad Abdi, Biography, Catherine Keener, Paul Greengrass, Thriller, Tom Hanks, Yul Vazquez

Captain Phillips-2013

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Captain Phillips-2013

Director Paul Greengrass

Starring Tom Hanks, Barkhad Abdi

Scott’s Review #28

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Reviewed June 17, 2014

Grade: B

Captain Phillips (2013) is an intense, gripping, action, thriller film nominated for the Best Picture Oscar.

As much as I enjoyed the film, I do not think a nomination for the top honor is warranted.

I have seen this type of film many times before and the underlining tone of “USA- good, other countries- bad”, whether intentional or unintentional, distracted me.

Another distraction was that all the protagonists are white whereas all the antagonists are African.

This is based on a true story but seems to be glorified.

The target audience must have been older, white, conservative men, who would revel in this type of film.

Tom Hanks is great and his performance during the final fifteen minutes of the movie should have cemented him an Oscar nod instead of the film

The main villain, played by a complete unknown, Barkhad Abdi, was excellent, especially considering the actor had no acting experience.

What a big break!

Overall, an interesting, exciting experience, but short of the Oscar glory.

Oscar Nominations: Best Picture, Best Supporting Actor-Barkhad Abdi, Best Adapted Screenplay, Best Sound Editing, Best Sound Mixing, Best Film Editing