thechoctopfilmblog Reviews

Kong: Skull Island (2017)

Kong would regret being in this film

[4/10 · 13 March 2017]

I was confused about the purpose of this film, and sadly, I was still confused after watching the film. All the elements of this new version of King Kong have been recycled. Taking parts of the originals/remakes and hastily gluing them together again in a different way doesn't mean it is going to create an inventive artwork.

And I knew they would put a scene where Kong saves a pretty lady in his palm, I just knew it. All that's improved from the previous films is Kong's appearance. He is fluffier, angrier and more realistic. Some points must be given to the stunning visual effects.

The characters' names and faces have also changed, but their nature and characteristics are half dimensional and predictable. It is stereotypes upon stereotypes. It is a major waste of talent with Tom Hiddleston, Samuel L Jackson and Academy Award winner Brie Larson ("Room") struggling in the muddled chaos. You could see and feel the disappointment. Even Kong seems confused. The performances are half- hearted and there is just no substance for them to work with. I bet all they were thinking of while filming was 'get me out of here' – literally.

For the majority of the film, everyone says very few words to each other. The conversations are forced and laughable. It wouldn't have made a difference if they were just silent. It's so predictable that you would know exactly what the next line would be.

I thought while watching this, was this meant to be an exaggerated satire of King Kong? Or was it meant to be taken seriously? Even the execution of the film presents the same questions. At one point, it would be slow and mystic, and minutes later, overly upbeat music would hit your ears, and we are treated to magnified slow-motion action. It feels it is trying too hard to get our attention. And once it does, it doesn't know how to sustain it.

And finally, there are so many extreme close-ups of Samuel L. Jackson's face, it probably took up half the film. They did it to match Kong's face, so you can imagine how gigantic it was.

Maybe if Director Jordan Vogt-Roberts figured out from the beginning what type and style of film this would be, it would have been a better film. It seems like he had an idea but is unconvicted towards it, and instead keeps changing his mind to offer more 'fun'. The result that it is a jumble of various pieces that don't belong in the same puzzle.

Fantastic Beasts and Where to Find Them (2016)

An enchanting film that brings joy and warmth to your heart

[8/10 · 13 February 2017]

I remember feeling very sad when the last Harry Potter film hit the theatres. It was the end of something I deeply loved growing up. Now, JK Rowling's wizarding world is given another chance to be showcased on the big screen. Not only that, the magic moves beyond Hogwarts and London, making its way all the way to 1920s New York.

Instead of Harry Potter, our new hero is Newt Scamander (Eddie Redmayne), a magical creatures enthusiast, who famously wrote 'Fantastic Beasts and Where to Find Them' - a text book that Harry and his friends would study 70 years later. Donning a fine blue coat and carrying a briefcase filled with magical creatures, Newt arrives in New York with the intention of reaching Arizona to send Thunderbird back to its natural habitat. However, upon the escape of his most adorable, yet incredibly astute Niffler (who also has an insatiable desire for shiny things), Newt meets Jacob (Dan Fogler), a No-Mag (US equivalent of 'Muggle', which essentially means non- magical folk), who accidentally lets some of his creatures loose in the city.

As it turns out, there couldn't be a more terrible time for this to happen. New York is currently ravaged by a mysterious, destructive dark force, and Newt's creatures quickly became suspects by the members of the MCUSA (Magical Congress of USA). One of them is Tina (Katherine Waterson), a disgraced Auror, who quickly grew a liking for Newt but felt compelled to do her duty to report Newt to the Congress in order to keep the magical community safe.

As expected from JK Rowling, the magical world depicted in this film brimmed with wonder and charm. Fans of Harry Potter would be pleasantly surprised at the re-appearance of the familiar spells such as 'Obliviate' and 'Alohamora'. The audience is also introduced to new magical concepts, including the 'Obscurus', an uncontrollable, sinister force that appears inside children when they try to suppress their magical powers and the 'Legilimens' – mind- reading art. We see for the first time, the extravagant, majestic interiors of the MCUSA and the riveting world of fascinating magical creatures inside Newt's briefcase. I felt I was in the shoes of Jacob, gawking as I discover all this for the first time.

All the characters in the film are delightfully likable, particularly Newt and Jacob. Naturally introverted, Redmayne portrays Newt's shyness and innocence magically. His love for his creatures is contagious and we really connect with his passions. Fogler as his unlikely friend is equally brilliant, giving us most of the laughs in the film. The lovely ladies of the film - Waterson and Alison Sudol as her sister Queenie, their beauty and authenticity shines. The relationships they form with Newt and Jacob begins delicately, but we find that they're actually very compatible with each other. Colin Farrell shows his versatility as the villain Percival Graves. It was a little odd seeing him waving a wand instead of a gun, but he was nevertheless believable.

Fantastic Beasts is extravagantly produced, especially in terms of its production and costume design. This, along with masterful CGI to bring the magical creatures to life and a vibrant score (James Newton Howard), the end product is a film that is visually enchanting. It also has plenty of heart, about love and friendships that could form at the most unexpected times. No matter how old you are, or whether or not you're a Harry Potter fan previously, it is a film that would bring joy and warmth to your heart.

La La Land (2016)

A film of spontaneous, colourful magic and charm

[10/10 · 13 February 2017]

A film of spontaneous, colourful magic and charm, La La Land captivates us from the very first scene. Visually, it is spectacular. All the elements sing in harmony and coalesce together to form a beautiful artwork. It was director Damian Chazelle ('Whiplash')'s dream for many years to get this film made, and what a passionate, special film he has created. It is a treat for your eyes and ears, and especially your heart.

But let's talk about that opening scene. A hundred dancers, enthusiastically and joyously dancing and singing during a traffic jam on a freeway. Chazelle doesn't wait, he gives us the best from the very start. As the audience, we are immediately enchanted by a symphony of joy and delightful music. I won't spoil the entire scene, but it is done with such incredible craft and skill, it will be remembered for a long time to come.

On that freeway, our protagonists, Mia (Emma Stone) and Sebastian (Ryan Gosling) are introduced. Both are struggling artists, trying to find their way in LA. Mia is an aspiring actress and Sebastian is a talented pianist, determined to revive and preserve traditional jazz music. Through a series of chance meetings, the two eventually fall for each other, and pursue their dreams, with one another by their side. The chemistry between and Stone and Gosling is undeniably instantaneous. The fiery intensity of their connection reminded me of the classic Hollywood couples we admired and loved, like Humphrey Bogart and Lauren Bacall.

A city of dreams, there is no better place than LA to tell this story. On the surface, to those of us unfamiliar with the true essence and identity of the city, we can easily be mesmerised by its allure and its potential for achieving our romanticised ideals. Chazelle wanted to re-create the classic and nostalgic look of the city during the 1950s, and he has successfully captured not just the aesthetic, but also the timeless feeling the city exudes, with a tinge of novelty. To Chazelle, the sound of LA is jazz. Justin Hurwitz's score is a blend of pure extravagance and subtlety. With its jazz influences and undertones, each note tells a story of its own. The trumpet gave the film its life and energy, while the piano touched our hearts and soothed our soul.

I was particularly awestruck at the daedal use of light and the camera-work in this film. Each shot must have been planned meticulously, and yet, they appear very natural. The dance sequences are flawless, effortlessly blending in with the story itself. The hilltop dance between Stone and Gosling - I can imagine just how much effort was invested to get it perfect. As it is taken in one shot, one mistake meant that they would have to start again.

The characters of Mia and Sebastian essentially embody our hopes for romance and our passions. Their journey begins with zealous optimism and as the story progresses, the harsh realities begin to emerge and unveil themselves as they navigate through the challenges. Each one is extremely relatable. In this respect, La La Land is essentially a realistic fairy-tale. In the first half, we are overwhelmed by its elegance and beauty, and in the latter half, we get opportunities to rest our eyes a little, and that is when our hearts start to feel. Beneath the dazzling facade, the story waits for us to discover that warm, but painfully real dynamic that exists between Mia and Sebastian. The music gave this film its rhythm, but it is the love story between these characters that gave La La Land its heartbeat.

Each frame of La La Land could be paused, and turned into an exquisite photograph. I am very glad for the success of Whiplash, otherwise this film may not have been made the way it did. It is creative, refreshing, and daringly speaks to our emotions. The songs, the dances, the story and the characters are immensely addictive. The ending of La La left me stunned. It took a while for me to process what has just happened. But this is why this film is so great. The audience is incredibly invested into these characters and when we get results that we didn't expect, we understand it. It would just take a little while for our hearts to mend.

Silence (I) (2016)

Eerily fantastic, explores a heavy subject matter in its rawest form

[8/10 · 13 February 2017]

Silence was eerily fantastic. Based on the 1966 novel by Shusaku Endo, it explores a very heavy subject matter and does so in its rawest form. Set in 17th century Japan, two Catholic priests, Fathers Rodrigues (Andrew Garfield) and Garupe (Adam Driver), begin their journey to find their missing mentor Father Ferreira (Liam Neeson). At the time, Christians in Japan were under severe persecution by the Shogunate and many went into hiding to avoid torture and execution. Director Martin Scorsese tells the story in a very unique way. He lets the audience witness the grim details of the physical and mental suffering the Christians endure through from the very first frame. It is very difficult and uncomfortable to watch, and that dreadful feeling lingers and persists during the entire film.

What's really fascinating about this film is that Scorsese built the film around the theme of Silence. There is no music in the film in the traditional sense. The score (Kathryn Kluge and Kim Allen Kluge) comprises almost entirely of insect noises and chirping of birds. The audience, like Rodriguez and Garrpe, are left vulnerable and there is nothing to distract us from the brutality that is being depicted. Darkness is a common theme here, both figuratively and literally. Many scenes are set at night, or in a hidden hut lit by candlelight, with people talking in fearful whispers.

If we dig deeper, Scorsese presents many 'Why' questions around God's silence to the Christians' sufferings and it doesn't readily divulge the answers. The viewers mainly follow and see things through Garfield's perspective (quite literally through Rodrigo Prieto's brilliant cinematography) and after being part of what he goes through, we are compelled to raise the same doubts and questions as him – questions such as: What is faith? What is strength? Should you deny God to save others? Like him, the audience's willpower is chipped away little by little as the film progresses, and I could feel myself approaching my breaking point too.

The film does tone down past the half way point, with its intensity dissolving slightly. Or was this because we are somewhat used to the violence at that point? The screenplay spends the majority of the film dissecting and delving into Garfield's emotional realm. They do this slowly and painfully, and for the viewers, it could feel a little wearisome. I found though, that this was all part of the process. Scorsese was merely preparing us for the much anticipated encounter between two central characters in the climax. By that point, it is easy to be fully engrossed in the conversation, and it is powerfully sincere and heartbreaking, as we could understand both characters' thoughts and motivations.

After his exceptional performance in Hacksaw Ridge, Garfield gives another heartfelt performance here. Neeson's role as a mentor reminded me of his character as Qui-Gon, with his quiet maturity and perceived respectability and wisdom. Even with their limited screen time, the Japanese actors, in particular Issei Ogata as the Inquisitor Inoue and Yosuke Kubozuka as Kichijiro are incredibly memorable. Inoue's creepy voice would stay with me for a long time to come.

Scorsese' Silence deliberately uses silence to punctuate its impact. It puts you through trials and tribulations and when you finally absorb everything, you'll feel extremely sick. At almost three hours running time, it is long and it takes a fair degree of patience and resilience to sit through. Regardless of Scorsese's intentions and what his message is, this film forces you to be in touch with your humanity and that's in my opinion, achieved brilliantly.

Lion (2016)

A film of stirring emotions

[9/10 · 7 February 2017]

When the source story is a compelling story, it makes it a little easier for it to be a powerful film. Lion is a film of stirring emotions. It depicts a real life story of Saroo Brierley, who after 25 years of being separated from his family, miraculously finds them with the help of modern day technology Google Earth. It took 6 years of painstaking search.

Saroo (whose birth name name is actually 'Sheru' meaning 'lion') grew up in Ganesh Talai, a village in the city of Khandwa, India. His mother is a labourer carrying bricks for a living and young Saroo (Sunny Pawar) desperately wants to help out by joining his older brother Guddu (Abhishek Bharate) foraging for money at train stations. One night, when he was 5 years old, he took a nap and woke up to find his brother missing. In an attempt to search for him, he boarded a departing train, which ultimately took him on a 1,600km journey to the city of Calcutta.

The young Sunny Pawar gave a magnetic and immersive performance as the young Saroo. He blends in so naturally with the life that is portrayed, and we as the audience are instantly drawn in by his innocence and on-screen charisma. Alone, defenceless and frightened, we follow him as he struggles through perils, before he is finally put in an orphanage and adopted by an Australian couple John (David Wenham - 'Lord of the Rings') and Sue Brierley (Nicole Kidman - 'The Railway Man'). It was delightful to see those two Aussie actors being cast in their respective roles.

Pawar effortlessly carries the first half of the film and sets the perfect tone and foundations for the remaining half. In the present day, the grown up Saroo (Dev Patel), is now at university studying Hotel Management in Australia, where he meets girlfriend Lucy (Rooney Mara). We see him living a very different life than he otherwise would have. At a friends' gathering, he stumbled upon a plate of "Jalebi" – a sweet dessert popular in India, and it triggered a childhood memory of him and his brother Guddu back home. This was an extremely profound scene, as it is incredibly relatable. We all have those moments where something little like that can prompt us to reminisce about our childhood memories we keep close to us. For many of us, 'home' evokes sentiments that are familiar, tender and nostalgic. Perhaps when it comes to our childhood memories of home, we, like Saroo, are not afraid to show our vulnerabilities. The memories we have may be faint gossamers of the past, but they do leave indelible marks on us and the bonds we have with those we love are perpetual.

The second half is comparatively weaker. The film loses a little of its momentum but it is quiet understandable as it is somewhat difficult to propel the narrative forward with excitement when the search for home is all via Google Maps on a computer screen. The result is that when he finally found his home on the map, it happened quickly and seemed relatively easy, compared to the many years spent in real life. And let me just say, the idea of using Google Maps to try and match the mental pictures in his mind of his home is just ingenious. Without it, the search would have been almost impossible.

Nevertheless, Garth Davis ('Top of the Lake') manages to harness its energy of its brilliant cast and the story never ceases to move us, up until the final reunion. Kidman, in particular, portrays Sue's fragility and strength with sensitivity and density. Patel is equally solid, matching her fear and uncertainty with his own quiet conviction and understanding. He has matured immensely since his 'Slumdog Millionaire' performance, bringing a sense of stability and trust in his character.

A relatively unknown Australian director, Davis does a fine job in finding a comfortable balance between heaviness and warmth, and gives us a film that is touching, but not excessively lachrymose. It is not only a film about searching for our identity and our roots, as it also touches on the theme of cross-country adoption. The cinematography by Greig Fraser ('Rogue One', 'Zero Dark Thirty') is magnificently real, and his most effective shots echo those of a satellite, giving us a bird's eye trace of Saroo's footsteps back home.

Lion made me ponder, why is it so important to all of us that we know where we come from? Perhaps the answer is simple. When we are pulled apart from our origins by the vicissitudes of life, we would innately embody a kind of unrelenting determination to learn and connect with those that had an impact on us and made us who we are. To find peace and to know where we are going, we might first need to know where we come from. Saroo's bond with his family, particularly with Guddu and his birth mother was unbreakable. One can only imagine the years of anguish and torment he went through not knowing what happened to his family. Now, he can finally put those questions to rest.

Hacksaw Ridge (2016)

An extraordinary man, with an extraordinary tale

[8/10 · 5 February 2017]

Bravery comes in many forms, especially during times of war. Desmond Doss' story is one that makes us re-assess the truest form of it. An extraordinary man, with an extraordinary tale, it's difficult not to be drawn to his story.

Hacksaw Ridge is the nickname given to the 400 foot cliff 'Maeda Escarpment', a stronghold for the Japanese's defence of Okiwana. Known as the bloodiest battle of the Pacific, the capture of Hacksaw Ridge was vital to the battle of Okiwana. In April 1945, a young combat medic Desmond Doss (Andrew Garfield – 'Silence'), was one of those deployed to conquer the ridge.

Shy and taciturn, Garfield suited the role of Doss very well. If you took one look at Doss, we would most likely immediately write him off as a war hero. He is the unlikeliest of heroes, in much contrast to Garfield's previous character of the 'Amazing Spiderman'. He has no super powers here, instead, his 'power' stems from his unwavering faith in his religious beliefs and his unbridled valour in putting other men before himself. Garfield has proved that he could handle serious roles with '99 Homes', and in this film, he advances his capabilities further and demonstrated incredible inner strength despite his slim build.

As a fervent Seventh - day Adventist, Doss is tenaciously committed to the Ten Commandments, and vowed to never pick up a weapon. As a result, in his training at Fort Jackson, he endured horrendous abuse and bullying from other men. Ironically, he was despised for his 'cowardice'. Even his commanding officers loathed him and attempted to court martial him for refusing to obeying orders of handling a firearm. Undeterred by this, Doss remained resolute, and not once did he show hatred towards those that hurt him. Even if you're not a believer, you cannot help but be moved by his kindness and faith.

After 10 years break, director Mel Gibson ('Braveheart', 'Passion of the Christ') returns once again with a gritty war epic. Gibson does not shy away from the sheer brutality and violence of the battles, and showcases in gruesome detail, the ruthless and unforgiving nature of war. The battle scenes are bold and excruciatingly honest, closely reminiscent of the beach landing scenes of 'Saving Private Ryan'. Death is quick and fleeting, but its wounds are lasting. Gibson tells war stories as it is, and in my opinion, it is necessary. It prompts us to think, how much courage would this man have to save so many men in circumstances like this?

Screenwriters Andrew Knight and Robert Schenkkan take their time sketching the character of Doss, steadily adding additional elements about his childhood, personality and relationships. Despite its central focus on Doss, the film does manage to develop a few memorable characters, including Doss' wife Dorothy (Teresa Palmer), Sgt Howell (Vince Vaughn) and Smitty Ryker (Luke Bracey). I particularly enjoyed the caricatures Vaughn had for his men. Hugo Weaving was convincing as Doss' father – a veteran of WWI suffering from PTSD related alcoholism and depression.

Doss is famously credited with saving 75 men from Hacksaw Ridge, without firing a single shot. For his bravery, he became the first conscientious objector (though he calls himself a conscientious co-operator) to receive the Medal of Honour. After watching this film, you would feel he undoubtedly deserved it.

Sometimes heroes themselves don't feel like heroes. They feel they're merely doing what they think is right. Doss never took glory for his actions, he believes he did what he did was because of God. At Hacksaw, all you hear him say was 'Please Lord, help me save one more'. The ones he saved were never enough, he just wanted to save one more – much like Oskar Schindler. The courage of these men were unfathomable. After all they have accomplished, all they could think about were still not of themselves, but of others. Hacksaw Ridge was a tribute to those heroes.

The Light Between Oceans (2016)

A tale of two extraordinary love stories, brought together by fate and tragedy

[8/10 · 10 November 2016]

Directed by Derek Cianfrance (Blue Valentine, The Place beyond the Pines), The Light between the Oceans is a truly moving and poignant film that tells the tale of two extraordinary love stories, brought together by fate and tragedy.

Tom Sherbourne (Michael Fassbender), a lighthouse keeper and his wife Isabel Graysmark (Alicia Vikander) found and decided to keep and raise a newborn baby washed ashore on their lighthouse island. Several years later, they discover and meet the mother of the baby – Hannah Roennfeldt (Rachel Weisz), a widower mourning the loss of her baby and her husband, who were presumed dead after being lost at sea.

Like the characters, we journey through the film wrestling with our own moral principles, values and emotions. Should Tom and Isabel tell the truth to Hannah? The answer is never clear. We could feel the joy, the pain and the anguish. The emotional puzzle are far from simplistic, in fact, we experience a variegated spectrum of human emotions, and we work hard to piece it together. All of us could relate to these characters, and we could understand their motivations.

All of this was made possible by the formidable performances of Fassbender, Vikander and Weisz. The chemistry between Fassbender and Vikander was incredibly authentic. Vikander's warm, yet fiery nature perfectly complemented Fassbender's more reserved and timid self. Their love was tender and fierce, she was his lighthouse. All three were a delight to watch, they make us feel that you're there with them, going through the same tragedies as they have. Great actors communicate their deepest feelings through their eyes, and this is what they have all done here. They despair and their strength were all written in their eyes.

Adam Arkapaw's cinematography was breathtaking. The majestic, yet exquisite coastal sceneries, with roaring waves was the most perfect setting for this story. Alexandre Desplat (who also scored Imitation Game, Grand Budapest Hotel)'s evocative score added a further touch of magic, imbuing the film with a sense of nostalgia. Cianfrance does well in setting up the narrative and driving it forward at an unhurried pace, giving us time to absorb and decipher our thoughts.

The Light between Oceans touches your heart, and is relentless at brewing a storm within ourselves. We search for our own anchor, our own lighthouse during the film. It is a tumultuous journey, and when we find it, it does reward us with a lingering sense of comfort and calm.

Imperium (I) (2016)

Radcliffe's tenacity pays off

[6/10 · 12 October 2016]

Daniel Radcliffe as a FBI agent and an extreme white supremacist, now that was a film I really had to see. Personally, I love undercover stories as they have inbuilt elements of excitement and uncertainty. You're wondering constantly whether the covert operation is going to be a success or a failure.

Even with a shaved head and gangster clothes, Radcliffe lacked menace, fury and vitriol one might expect from a white supremacist. His eyes emanate a childlike innocence that is difficult to overcome even by vulgar behaviour and foul language. He doesn't astound, but I was quite engrossed in his performance. I cared about him and I wanted him to succeed.

I would have loved to see a deeper examination of infiltration strategies than what was in this film. It employs tips from the well – known book: Dale Carnegie's 'How to win friends and influence people', and doesn't go beyond that. By being as simple as it is, it takes away the intrigue of an undercover story.

There were some nail-biting scenes and clever dialogue that held my attention. We do get to delve into the mindsets of several white supremacists. The finale, however, felt very rushed. It came across as very sudden and I questioned its plausibility. It seems that the writers just needed a quick and thrilling end to the story without considering whether it is consistent with what they have developed earlier, both story and character wise.

I admire Radcliffe's tenacity to take on such a role. Even though the film wasn't a profound artwork, he does well in trying to break the seemingly immutable image of him as Harry Potter. Anyone who is used to seeing him as the boy who lived would be pleasantly surprised.

The Girl on the Train (2016)

An unambitious and mundane mystery

[4/10 · 9 October 2016]

Based on Paula Hawkin's novel of the same name, 'The Girl on the Train' is a predictable mystery thriller that lacks suspense and originality. The premise itself is inventive, but the film failed to offer excitement that I so looked forward to.

Emily Blunt gives a powerful performance as Rachel, a depressed alcoholic who rides the train everyday to Manhattan and back. She is obsessed with spying on her and her ex-husband Tom (Justin Theroux)'s house (which can be conveniently seen from the train), and his new life with Anna (Rebecca Ferguson), a girl he cheated on her with. The story gets messy when Megan (Haley Bennett), who lived next door and is a nanny employed by Anna and Tom, goes missing and Rachel is suddenly personally involved in the chaos.

Blunt has to sacrifice her beauty for this role and she was as compelling and real as she could be given the circumstances. Her forlorn, lifeless appearance suited the film's dark and dreary mood. Sadly, the characters are just as colourless. The film could only afford a singular exploration of their emotions and they had no opportunities to create depth to their personalities. You've seen stereotypes of those characters all before.

The story itself is excessively melodramatic. I was hoping that it was more than just your standard affair mystery, but as it turns out, it was exactly that. The time jumps designed to create more suspense for revelations was instead confusing for the audience, given that we already have to follow three separate story lines simultaneously.

A great mystery thriller usually keeps me pondering, wondering, and enthralled throughout. This 'Girl on the Train' however, sucks all your energy out and leaves you feeling empty. I felt exhausted sitting through this film. Apart from a couple of shockingly brutal scenes, there is really nothing in this film that would get your heart pumping. The final revelation of the villain is staged at a point that you realise there couldn't really be anyone else.

This is such a disappointing film that if I was on the train to witness the story, I would have looked the other way.

Sully (2016)

A powerful re-creation of a familiar story

[15 September 2016]

How do you make an intense and entertaining movie when you already know just how it is going to end? Trust Clint Eastwood to do just that.

In fact, this is more than just an ordinary plane crash film. It intelligently explores the human elements of the story and the complexities of human emotions.

We all know what happened. In January 2009, our hero pilot Chesley 'Sully' Sullenberger (Tom Hanks), along with co-pilot Jeff Skiles (Aaron Eckhart) made a miraculous emergency water-landing on the Hudson River, saving all passengers and crew on-board. This feat was unprecedented and Sully was hailed as a hero by people all around the world.

The film avoids a one-dimensional characterization of Sully and instead portrays him as just a normal family guy trying to his job. It shows that experiencing such a trauma has its darker consequences, despite its seemingly happy ending.

When it comes to characters battling tough situations and internal struggles, I can't think of anyone else more fitting than Tom Hanks to play them. He doesn't just play them, he transforms into them. He was tremendous as Sully, a man who exudes a raw, quiet resilience, and even without saying a word, you can sense and feel his pain and unrest. His performance is a perfect blend of Sully's audacity and vulnerabilities.

To create conflict and tension, the film needs a villain. In this one, it is the aviation authorities (NTSB). There is bound to be some disagreement there, but it does effectively provide the story with obstacles Sully needs to defeat.

We are sympathetic towards Sully – Hanks is just naturally humble and amiable. We want him to win. He finally admits at the end of the film that he is proud of what he has done. And he should be.