Sully

Sully is an ingeniously constructed portrait of a disciplined professional who is haunted by doubts about whether he did the best job he could do. Eastwood composes the image of the central “miracle” and the portrait of the protagonist from several flashbacks, each of which accentuates a different level of the event and are then collectively mirrored in Sully’s final speech highlighting the merits of the crew. Though, thanks to Hanks, Sullenberger is a more charismatic personality than he seems to be from the way he describes himself in the book on which the film is based, he is still a rather ordinary working man of firm principles and unchanging rituals, not a hero who humorously comments on every difficulty and effortlessly overcomes every obstacle. Thanks to that, Eastwood is able to see the concept of heroism in a different light. Anyone can become a hero regardless of the brilliance of their character traits, if they “just” do what they do best. 80% (09/19/2016)

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. (09/10/2016)

Clint knows how to play the viewer. He has a very gentle and understated way of introducing a character you will like who will make the film fun for you. He also sets it in some sort of framework of human drama. Here, he didn't even have to make it up, here it was written by fate itself, so it's actually all the better for it. Maybe. A very good film, strong, can definitely play on the viewer's heartstrings, the acting is actually flawless. But I guess I've seen too many similar films that I'm not particularly blown away by it. The movie’s over and I know I won't watch it again or remember it tomorrow. Otherwise, if it ends up leaving something in me, I'm raising my rating. But at this point "only" a strong 3 stars. (01/02/2017)

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. (01/15/2017)

The best new film since... Well, since Bridge of Spies. And it probably isn't a coincidence that Tom Hanks is also in it, because Sully is so very great in the first place, though not only because of him. I especially liked the ubiquitous tension and believable dramatic atmosphere. Whether the viewer knows in advance what happened on the Hudson or not (although after a few minutes everything is clear even to him), Eastwood's precise direction leaves him almost permanently shivering and waiting breathlessly for what will come in the next scene. We see the landing several times, but each time in a different way, and we never get the feeling that something is repeating itself, because the plot resembles a building kit made of many pieces that gradually fit together. Everything is carefully balanced - tension, pathos and humor - the main character is not a superman, but just an ordinary man who has done the incredibly right thing, but suddenly faces such pressure that he starts to doubt himself. What is admirable and commendable is that the film does not slip into any depressing drama full of regrets and question marks, but keeps its head above water and keeps winking at us: Don't worry, it will turn out well. It would be a shame to miss such an excellent film, as modest as its main character. (09/21/2016)