Disaster film without catastrophe, Sully ruminates on an America that no longer recognizes its heroes. Critical
TF1 will rebroadcast Sunday evening Sully, by Clint Eastwood. Here is the review published in First when it was released in November 2016, while waiting for the director’s new film, Cry Macho, shown at the cinema on November 10.
In the latest issue of Rock & Folk, the eminent critic Christophe Lemaire uses the perfect image to describe the feel of the viewer when the Malpaso logo appears and the jazzy piano notes resound at the beginning of Sully : ” You immediately feel in your slippers “. All fans of Clint eastwood know this feeling well. Except that in recent years, Beyond To Jersey Boys, the Eastwood slippers sometimes looked a little holey, moth-eaten … Good news: Sully, like American Sniper last year, sounds like coming home. After recounting the life and work of America’s most lethal sniper, Clint takes a closer look at the famous “Miracle on the Hudson” in January 2009, the hallucinatory ditching of an Airbus A320, the 155 passengers of which escaped unscathed. A disaster film without catastrophe, therefore, but not without drama for all that: the whole story wraps around the hearing of Captain Sully by a suspicious commission of inquiry, which questioned the merits of the pilot’s gesture. daring, of course, but also downright daredevil.
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Behind the trial film, Eastwood sketches a bitter political rumination about a confused America, unable to recognize and celebrate its heroes. Tom hanks, imperial, takes the opportunity to add a thousand new nuances, sublime, to his eternal character of captain courage. The film, 1h30 on the clock and hardly a fart of fat (despite the astonishing decision to show the crash of them times, or one too many) is an ode to professionalism and a job well done. To these modest needy who put down their plane without incident, like others put their film in time. a Flight without cocaine or moral ambiguity, a Captain Phillips muted. Cool and square. Detail that does not deceive: we see Clint Eastwood in person in the film. Keep your eyes peeled: As Captain Sully takes his night jog in Times Square, he walks past a giant poster of Gran Torino. Dirty Harry’s mouth devours a corner of the frame, his mad gaze is fixed on us. Eastwood has certainly always been fond of this kind of megalomaniac coquetry (we saw a poster of The man of the high plains in Breezy, an extract of Rawhide in Jersey Boys) but, here, it is above all a way of asserting that he is in charge. Not there for fun. We may be in our slippers, but he stays upright in his boots.