Directed by:
Doug LimanScreenplay:
Gary SpinelliCinematography:
César CharloneComposer:
Christophe BeckCast:
Tom Cruise, Domhnall Gleeson, Sarah Wright, Jesse Plemons, Caleb Landry Jones, Alejandro Edda, Jayma Mays, Connor Trinneer, E. Roger Mitchell, Sharon Conley (more)VOD (2)
Plots(1)
Tom Cruise as Barry Seal, an airline pilot who avoids jail time for smuggling by agreeing to work for the CIA, but soon finds himself mixed up with ruthless drug cartels and the Iran-Contra affair. (Home Box Office)
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Reviews (15)
After The Mummy, Tom Cruise apparently relaxed and enjoyed this 1980s summer romp perhaps even more than many viewers. It’s hard to deny that the premise is uninteresting, but the execution and especially the pacing are a challenge. It's a movie about a huckster pilot that basically flies on autopilot the whole time and everything is clearly lined up (and repetitive). There is no moment of surprise, no vivacity and no drive, you can anticipate the screenwriter's intentions three moves ahead. You still may get a taste of this summer ride, but it's not the experience of the year. The attempt to align itself with Scorsese's legends with its razor-sharp jokes and sarcastic undertones is there, but unfortunately often off-target.
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Barry Seal is Tom Cruise's one man show. Totally. Actually, there's nothing here but Tom Cruise in a role that was tailor-made for him. As a likeable bastard who can work for three deadly organizations at the same time and still make a damn good living at it, he's downright brilliant. His Barry is an amoral bastard, but with such enormous charm that you'll be rooting for him even as he muddies the waters with Colombian cartel bosses, delivers weapons to Central American paramilitary organizations, and buries his money in suitcases in the backyard. Barry has style, and thanks to Doug Liman and his brisk direction, his adventures are quite watchable. And it's only at the end that you realise that it's actually playing it too safe, that Barry's sort of getting away with everything, lacking a significant antagonist, conflict or even problem, and that it's not actually very interesting. Cruise fans will probably enjoy it to the max, others will be treated to a stylish, broadly entertaining but more or less pointless film.
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A very likeable film from start to finish. You can cheer for the main hero, although he's not fully a good guy, it's thrilling and funny and it has a pleasant retro look and sound. I often thought of Gold with Mathew McConaughey, which, of course, had something extra and I liked even more, but I rarely thought of the much worse The Wolf of Wall Street. Tom Cruise shows us why he still belongs amongst the most sympathetic and best actors.
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A worse feature episode of Narcos, made in a relaxed but inconsistently executed style of The Wolf of Wall Street or the Lord of War. So, it never finds its own path and so it crouches in the shadow of the above. What would help is a better-built storyline, some emotions and a better executed shift to more serious department at the end, but purely as 80s stylized relaxed biographical nonsense, it's not really bad at all and it's definitely fun. Take my word for it. Especially thanks to Cruise, who is a great fit to this comic conceived role of a passive macho dude. Partly because he doesn't try to stylize himself into the real Barry Seal and he just plays himself.
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American Made is a very straightforward crime comedy without any major stumbling blocks and it makes no effort to face us with any difficult moral dilemmas. It conspicuously imitates the style of Scorsese’s films (pop songs, a narrator intervening in the story and determining what we see and how we see it, attention-grabbing camerawork and editing) and cashes in on the popularity of the TV series Narcos, so it comes across as unoriginal and predictable, but thanks to the smooth (albeit slightly mechanical) narrative and Cruise’s charisma, it is entertaining from start to finish. The position of the main protagonist is unusual (for a Hollywood movie), as he lets himself be dragged along by circumstances and merely accepts outside offers and follows orders dictated to him through almost the entire film. He can demonstrate his ingenuity only in the way he carries out deliveries of certain goods, not in what he actually does. It would almost be possible to interpret him as the embodiment of American pragmatism, the ability to adapt to the given situation and make the most of it for himself, but we know too much about him (compared to the other characters, who are really only types) to perceive him in such an impersonal way, and relatively strong emphasis is placed on the family storyline (which, however, the film handles much more carelessly than The Wolf of Wall Street, for example – you will probably care as little about the protagonist’s wife and children as you did for Barry). Of the films that “comfort” us with the fact that people may be bad, but their governments are worse (War Dogs, American Hustle), this one gets bonus points in my eyes for taking the procedural side of things into greater consideration and for not pretending to be anything better. It’s simply light summer macho entertainment that does everything possible to keep the viewer from getting bored for even a second and, unlike Atomic Blonde and The Hitman’s Bodyguard, it does that very well. 70%
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