by Josh Sewell
Greyhound
(Rated PG-13 for war-related action/violence and brief strong language. Now streaming on Apple TV+.)
In this harrowing World War II thriller, Tom Hanks (who also wrote the screenplay, adapting C.S. Forester’s novel The Good Shepherd) plays Commander Ernest Krause, a first-time captain leading a convoy of allied ships – carrying thousands of soldiers and tons of critical supplies – across the Atlantic to England. Once out of range of air protection, the ships are on their own for five days, a fact Nazi U-boats know all too well. If the Allies are going to get the ships and supplies to safety, they must do battle with an enemy that has the element of surprise on their side.
In today’s era of epic runtimes and complex backstories, Hanks’ screenplay is refreshingly economical, although meticulously researched. Greyhound is a brisk 91 minutes long (including credits!), so there’s not an ounce of fat on it. We’re given a brief look at Krause’s life before going off to war – including the woman he has to leave behind (Elisabeth Shue, who appears for less than five minutes) – then we’re right in the middle of yelling and explosions.
Because time is short, Hanks and director Aaron Schneider (who also helmed the woefully underseen Get Low, starring Robert Duvall and Bill Murray) keep the focus on Krause’s strategy in battle and the tough decisions he must make instantly because chaos doesn’t allow hesitation. The filmmakers also don’t bother with unnecessary exposition or clichéd scenes of crewmen discussing their backstories.
Instead, we get to know them through their actions in battle and by tiny changes in facial expressions when they think Krause isn’t looking. Of the many actors we see rushing around in the chaos, the two that make the most memorable impressions (besides Hanks, of course) are Stephen Graham as Krause’s faithful second-in-command and Rob Morgan as a kindhearted cook who makes sure Krause eats so he can think fast.
There are a few weak spots, however. Greyhound moves so fast that some viewers may get lost in the technical jargon or think the movie’s too slight. The visual effects are also spotty in places, with some aerial shots and explosions that look a little too cartoonish.
Finally, the Krause character is little more than an archetype, so Hanks’ beloved everyman persona elevates the film. Viewers end up putting their own baggage onto the character because of their love for the actor’s previous work (“Look! It’s Captain Miller from Saving Private Ryan!”), so the movie doesn’t have to spend time building him up.
Grade: B
Hamilton
(Rated PG-13 for language and suggestive material. Now streaming on Disney Plus.)
The term “masterpiece” has become shorthand for “really good,” so when something truly revolutionary comes along, using that word almost undercuts a work of art’s majesty. I don’t think Hamilton has that problem. Even if you’re not a fan of musical theater, hip-hop, or history, it’s impossible to watch this production and not recognize Lin-Manuel Miranda’s staggering lyrical genius, the brilliance of Thomas Kail’s direction and the emotional intensity of Andy Blankenbuehler’s choreography.
Miranda wrote and starred in this Broadway musical about the rise and fall of founding father Alexander Hamilton, highlighting his often-volatile relationships with his peers and family. Almost every word in the show is sung, with a score that blends hip-hop, jazz, R&B, and traditional show tunes. The show obliterated box office records and became a full-blown pop culture phenomenon as soon as it debuted in early 2015. A year and a half later, realizing they’d captured lightning in a bottle, Kail shot several performances with the original cast before they left the show and edited them into a single film for posterity.
Full disclosure: I’ve been downright evangelical in my love of Hamilton since 2015. I’ve listened to the cast album so many times I practically know it by heart, and I’ve taught it in my college English classes, so I was already in the tank for this film. Still, I wasn’t prepared for the magnitude of watching the original cast perform.
Yes, I knew the songs, I’d watched the making-of documentary, I’d seen the touring company at the Fox Theatre in Atlanta (from the nosebleed seats) and I’d devoured countless books, articles, podcasts, YouTube clips, etc. But Kail’s incre0dible use of close ups and Jonah Moran’s judicious editing allow viewers to notice elements that even people sitting in the front row of the Richard Rogers Theatre probably missed.
Leslie Odom Jr. (who plays Aaron Burr) and Daveed Diggs (who plays Marquis de Lafayette in Act I and Thomas Jefferson in Act II) are the clear MVPs as far as acting/singing/rapping is concerned, but there’s not a weak link in the entire cast. Everyone gets at least one standing ovation-worthy moment.
In the wrong hands, a filmed production could’ve been deathly boring. Instead, I was drawn into the world of the story almost immediately. It’s so cinematic that I literally forgot I was watching people on a stage. I know a “real” movie adaptation of Hamilton is coming at some point (the demand is too high and there’s no way anyone’s leaving that much money on the table), but this film almost renders it irrelevant.
Disney initially bought the distribution rights to Hamilton with plans to release it theatrically next fall. However, the global pandemic means the studio desperately needs content for its streaming service, while Broadway is dark for the foreseeable future. Getting the film out early is a brilliant move that allows more people to experience the show than ever before.
If you’ve been looking for a reason to subscribe to Disney Plus or you’ve been wondering what all the Hamilton hype is about, now’s your chance to see for yourself. Careful, though. Not only is it addictive, there aren’t enough tissues in your house to be prepared for the emotional devastation that Act II brings. The show is simply transcendent.
Grade: A+
 |
| Courtesy of Apple TV+ |
Greyhound
(Rated PG-13 for war-related action/violence and brief strong language. Now streaming on Apple TV+.)
In this harrowing World War II thriller, Tom Hanks (who also wrote the screenplay, adapting C.S. Forester’s novel The Good Shepherd) plays Commander Ernest Krause, a first-time captain leading a convoy of allied ships – carrying thousands of soldiers and tons of critical supplies – across the Atlantic to England. Once out of range of air protection, the ships are on their own for five days, a fact Nazi U-boats know all too well. If the Allies are going to get the ships and supplies to safety, they must do battle with an enemy that has the element of surprise on their side.
In today’s era of epic runtimes and complex backstories, Hanks’ screenplay is refreshingly economical, although meticulously researched. Greyhound is a brisk 91 minutes long (including credits!), so there’s not an ounce of fat on it. We’re given a brief look at Krause’s life before going off to war – including the woman he has to leave behind (Elisabeth Shue, who appears for less than five minutes) – then we’re right in the middle of yelling and explosions.
Because time is short, Hanks and director Aaron Schneider (who also helmed the woefully underseen Get Low, starring Robert Duvall and Bill Murray) keep the focus on Krause’s strategy in battle and the tough decisions he must make instantly because chaos doesn’t allow hesitation. The filmmakers also don’t bother with unnecessary exposition or clichéd scenes of crewmen discussing their backstories.
Instead, we get to know them through their actions in battle and by tiny changes in facial expressions when they think Krause isn’t looking. Of the many actors we see rushing around in the chaos, the two that make the most memorable impressions (besides Hanks, of course) are Stephen Graham as Krause’s faithful second-in-command and Rob Morgan as a kindhearted cook who makes sure Krause eats so he can think fast.
There are a few weak spots, however. Greyhound moves so fast that some viewers may get lost in the technical jargon or think the movie’s too slight. The visual effects are also spotty in places, with some aerial shots and explosions that look a little too cartoonish.
Finally, the Krause character is little more than an archetype, so Hanks’ beloved everyman persona elevates the film. Viewers end up putting their own baggage onto the character because of their love for the actor’s previous work (“Look! It’s Captain Miller from Saving Private Ryan!”), so the movie doesn’t have to spend time building him up.
Grade: B
Hamilton
 |
| Courtesy of Disney Plus |
(Rated PG-13 for language and suggestive material. Now streaming on Disney Plus.)
The term “masterpiece” has become shorthand for “really good,” so when something truly revolutionary comes along, using that word almost undercuts a work of art’s majesty. I don’t think Hamilton has that problem. Even if you’re not a fan of musical theater, hip-hop, or history, it’s impossible to watch this production and not recognize Lin-Manuel Miranda’s staggering lyrical genius, the brilliance of Thomas Kail’s direction and the emotional intensity of Andy Blankenbuehler’s choreography.
Miranda wrote and starred in this Broadway musical about the rise and fall of founding father Alexander Hamilton, highlighting his often-volatile relationships with his peers and family. Almost every word in the show is sung, with a score that blends hip-hop, jazz, R&B, and traditional show tunes. The show obliterated box office records and became a full-blown pop culture phenomenon as soon as it debuted in early 2015. A year and a half later, realizing they’d captured lightning in a bottle, Kail shot several performances with the original cast before they left the show and edited them into a single film for posterity.
Full disclosure: I’ve been downright evangelical in my love of Hamilton since 2015. I’ve listened to the cast album so many times I practically know it by heart, and I’ve taught it in my college English classes, so I was already in the tank for this film. Still, I wasn’t prepared for the magnitude of watching the original cast perform.
Yes, I knew the songs, I’d watched the making-of documentary, I’d seen the touring company at the Fox Theatre in Atlanta (from the nosebleed seats) and I’d devoured countless books, articles, podcasts, YouTube clips, etc. But Kail’s incre0dible use of close ups and Jonah Moran’s judicious editing allow viewers to notice elements that even people sitting in the front row of the Richard Rogers Theatre probably missed.
Leslie Odom Jr. (who plays Aaron Burr) and Daveed Diggs (who plays Marquis de Lafayette in Act I and Thomas Jefferson in Act II) are the clear MVPs as far as acting/singing/rapping is concerned, but there’s not a weak link in the entire cast. Everyone gets at least one standing ovation-worthy moment.
In the wrong hands, a filmed production could’ve been deathly boring. Instead, I was drawn into the world of the story almost immediately. It’s so cinematic that I literally forgot I was watching people on a stage. I know a “real” movie adaptation of Hamilton is coming at some point (the demand is too high and there’s no way anyone’s leaving that much money on the table), but this film almost renders it irrelevant.
Disney initially bought the distribution rights to Hamilton with plans to release it theatrically next fall. However, the global pandemic means the studio desperately needs content for its streaming service, while Broadway is dark for the foreseeable future. Getting the film out early is a brilliant move that allows more people to experience the show than ever before.
If you’ve been looking for a reason to subscribe to Disney Plus or you’ve been wondering what all the Hamilton hype is about, now’s your chance to see for yourself. Careful, though. Not only is it addictive, there aren’t enough tissues in your house to be prepared for the emotional devastation that Act II brings. The show is simply transcendent.
Grade: A+
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