Captain Sully

January 15, 2009. Many remember the date for the "Miracle on the Hudson." Crew and passengers totaled 155 as birds flew into the engine of the plane, forcing the captain to land in the Hudson River. Heralded as a hero, people who haven't read the book (including myself) that Chesley Sullenberger proceeded to write about the incident may not be familiar with everything that happened after the memorable day.

There's different ways of approaching the material, so let's see how they decided to do it before analyzing the contributions of the individual. The beginning sets up how Sully never embraces the role of a hero and how his mind is tormented about how he saved the lives of everyone, yet the flight committee pushes to know if it was the best and safest decision; Sully reported that he lost both engines and thus wouldn't have thrust to return to a runway, but simulations and data engineers put together state otherwise. The beginning also sets up how Sully has always had a passion to fly and is an experienced pilot with over 40 years under his belt.

It isn't until about the 30 minute mark that we get our first glimpses of the day in question. From then on there's a good deal of Sully contemplatively running through New York and reliving the day and the possible outcomes, and then different views of the 208 seconds of fateful flight.

This is not the most thrilling movie. It just simply can't be. And it doesn't infuse the amount of enjoyment that Moneyball did with subject matter that could've bored audiences. Nevertheless, that is not to say the movie is boring. Clint Eastwood directs, and he more than anybody ever can direct with such a cool hand. And his directing when it comes to the rescue scenes on the river may be overlooked, but it's truly strong directing. And in typical Eastwood form, expect a lot of subtle piano playing in the film (Eastwood is credited with the theme for the film). It's also worth mentioning that even though many glimpses of the crash (or as Sully puts it, "forced water landing") are presented throughout the brisk hour and a half, it doesn't get old. There's purpose every time it's shown, and the right amount is shown every time.

Tom Hanks stars as the captain who misses his family and truly believes he was just doing his job-- nothing overly heroic. There's some internal demons to battle over the course of the movie, and it may not be Hanks' finest performance, but the everyday-charm and subtleness is still quite a performance. Aaron Eckhart is the clear supporting role, second fiddle character. He's really meant to be the comic relief, and, not all the jokes are the most well-written, but again there's charm for the guy that has his captain's back every step of the way. Laura Linney is never on the screen with Hanks at the same time, but as the distressed wife, they share plenty of phone calls together.

Again, this really isn't the most thrilling movie, and there shouldn't be hopes of it being one either. But it is a film shot almost entirely in IMAX cameras and the shots of New York are great; the acting is basically between good and great, and the final act shows the most humanity. Perhaps the film could be likened to Lincoln-- well acted without the most compelling of stories, but instead of Lincoln's ensemble cast, Sully places its bets on the focus of a few individual and that helps it retain the identity of an enjoyable film. It probably doesn't raise to the level needed for any Oscar nod, but it is an enjoyable film. And when you can enjoy a film or the film succeeds in the purpose it set out on, that's a win in my books.