Directed by:
Clint EastwoodScreenplay:
Todd KomarnickiCinematography:
Tom SternComposer:
Christian JacobCast:
Tom Hanks, Aaron Eckhart, Laura Linney, Mike O'Malley, Anna Gunn, Jamey Sheridan, Ann Cusack, Molly Hagan, Holt McCallany, Chris Bauer, Patch Darragh (more)VOD (2)
Plots(1)
On January 15, 2009, the world witnessed the "Miracle on the Hudson" when Captain "Sully" Sullenberger glided his disabled plane onto the frigid waters of the Hudson River, saving the lives of all 155 aboard. However, even as Sully was being heralded by the public and the media for his unprecedented feat of aviation skill, an investigation was unfolding that threatened to destroy his reputation and his career. (Warner Bros. US)
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Reviews (15)
Isn’t Clint Eastwood overdoing it it a bit with the nationalism? OK, I can take a war movie about a famous American flag, I can even take the story of an American sniper, whose life is quite tough, but is it really necessary to shoot a detailed reconstruction of how a plane landed on the Hudson River eight years ago? I’m not surprised that without the opening and closing credits this movie takes hardly 90 minutes because there really isn’t much to add. And I have to say that I didn’t really like the digital effect scenes involving the plane. Maybe fifteen years ago, but today? Thank god Tom Hanks was cast in the lead role because he’s not going to get any worse. But for the rest, I don’t want to see that ever again.
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A well-constructed drama that diversifies the relatively straightforward story with a few cleverly timed changes in perspective. Eastwood directs conservatively and keeps pathos in check, which pays dividends several times in the process when we return from the "present" to the deck of flight 1549. The only problem is the character of Sully, who is so one-dimensionally humble, good and self-doubting, that in order for the film to function as a drama at all, it must demonize the NTSB investigators. Everyone around the miraculous flight does their job 100%, the film is literally an ode to ordinary working Americans who trust their asses more than computers or institutions. But I feel that making the NTSB into a group of biased, manipulative and unwilling suits is very controversial, even in the case of a "fictional dramatic reconstruction". Especially when among them are many former pilots and it is demonstrably usually very difficult for them to bear the failures of their colleagues. This way, it seems that the accident was surrounded by professionals, except for the investigators. Why this excursion? Sully is actually a very sparse and a single-stranded film. Entertaining but simple. But I wish it well - I could not tear myself away from it.
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Clint Eastwood as we like him the most: simple, economical, straightforward and this time almost without pathos. His reconstruction of a famous event is neither as overwhelmingly authentic as United 93 nor as classically cinematic as The Flight, it treads on the edge, somewhere in between, and it does a great job. Basically without a dead spot, every shot is a forward thrust. The accident scene is amazing, both in terms of atmosphere and visual effects. Another film where the great form isn't a crutch for a lack of screenwriting substance, but serves exactly where it's expected, something that very rarely happens in a film of this kind. If it weren't for Tom Hanks being a good guy in the 126th way (getting a little tired of it) and the final 30-60 seconds, it would be almost perfect.
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Clint Eastwood and Tom Hanks, in their old age, give precise performances in every way. I wouldn't have hoped for a biopic drama to blow me away more than anything else in recent memory. I watched until two in the morning to see how it would all play out. Suspenseful, intelligent, engaging and perfectly acted. It's great. 90%
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With an excellent script, sensitive direction and the (once again) amazing Tom Hanks, Sully is subtle in the usual Clint Eastwood
style, relatable and intimate, just as the actual event deserved and its perception and understanding required. I strongly
considered giving it a fifth star, because it is a minor miracle what the director managed to do with the source material –
without any more dramatic emotions, but also without a single, even microscopic flaw in the movie’s beauty.
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