Bridge of Spies

Though Bridge of Spies is certainly a little embellished and insufficiently exciting, it is still a reliably entertaining spy thriller with a gorgeous retro visual aspect. I was already overjoyed by the camera movements, taking in three people at the table in the way it would have been shot 50 years ago. A great atmospheric setting in the period, elegantly written dialogue, a great Hanks, a nice role for Mark Rylance. Global politics should be run by people like Spielberg. And only them. (12/24/2015)

As soon as I saw only old people in the cinema, I knew I wouldn't be the target audience. It's nicely directed and fairly intelligently written, Tom Hanks is excellent and occasionally pulls off a joke, but I can't speak more highly of it. What bothered me was that we don’t get any courtroom stuff, the running is excessive and it’s not very entertaining. Catch Me If You Can, for example, was also just a long conversation, but it had a better paced and a much more powerful and entertaining effect on the viewer. With Bridge of Spies, I was more interested in when the ending would be than how the film would end, and I suppose that's wrong. I don't regret going to the cinema, it had its light moments (the plane crash, the conversation in Berlin), but it didn't pull me in. Strong three stars. 70%. (12/08/2015)

I must admit that I was a little sceptic about this movie. Personally, I don’t find the topic of espionage in the 1950s particularly suspenseful, but I was keeping in mind that Spielberg and Hanks were responsible for this and I shouldn’t have doubted them in the first place. I couldn’t have been happier after watching this and I must add that it’s one of the best movies that made it to Oscars this year. The story is absolutely natural and it’s really befitting the Cold War. Tom Hanks is a classic, but everybody is outshined by Mark Rylance whom I didn’t even known before, but now I know that I won’t forget about him. The only issue was the music, which was too American and it could do without all those emotions. The ending is a little too exaggerated, which doesn’t have to suit anyone. I was pissed, but it still didn’t make me take away a star; I’ve enjoyed this movie way too much for that over these two hours and a half. (02/28/2016)

A film with a testimonial value that is much more than how it actually entertains and enriches the end viewer. At the same time, though, it's typical Spielberg of the last decade. That is to say, smart, honest, with less verve than before, less original and groundbreaking, but also, nonchalantly academic, with accurately rendered period realities of Berlin and an overall magnificent production design (for that money!). It also knows how to play with characters (a reliable Hanks, a fantastic Rylance) and those wordless Kaminski details (the last scene) – something that can be called a constant for a very long time. A safe bet. It’s not bad, but nothing to write home about, either. (12/05/2015)

Lemonade Steven, or craft certainty. Yet even that can't deny the fact that Spielberg is stealing from himself, and as much as he wants to talk about strong ideas, he still comes out with kitsch that transgresses his "self-genre" boundaries. It's a great watch, and likely a few conservatives who will seem to step out of their conformist zone will give it a few awards, but the next day all I remember is the sheer coldness. What literally sticks out in some of the dialogue is the fact that the Coen brothers would have loved to have made it with a much greater degree of cynicism. (12/14/2015)