JayDee's Movie Musings

I liked Aguirre a good deal more than you, JayDee, but as far as the other 4, I'm with you.

Plot - The true story of Captain Richard Phillips (Hanks) who in 2009 was the captain of the American container ship Maersk Alabama which was hijacked by a crew of Somali pirates, and who subsequently found himself taken hostage by the pirates on board one of the ship's lifeboats. Leading the pirates is their Somalian captain Muse (Abdi), a former fisherman now forced into the world of piracy. When the pirates are able to board the ship a battle of both wills and wits unfolds between the two captains, a battle that eventually sees Captain Phillips captured and placed on a lifeboat heading for Somalia. Between the small lifeboat and its desired destination however stands the United States Navy who cannot afford to let them reach Somalia under any costs.

In terms of quality I'm aware that I'm probably undervaluing Captain Phillips. It's an exceptionally well-made film that features two tremendous performances, and yet for whatever reason I just wasn't as passionate about it as I expected and hoped I would be.

One of the things about Captain Phillips that I most admired was its multi-layered approach to the story. For a story such as this it would have been so easy to deliver a really jingoistic, rah-rah 'yay America!' type of film that painted the Somalian pirates as these evil, faceless villains and Phillips as this great American hero. It's a move we've seen several times before from Hollywood. Instead the script takes the time to showcase the actual character of the Somali pirates, and attempts to highlight just why these men feel like they have to resort to such actions. The film takes the perhaps brave move of making the characters, particularly Abdi's Muse, both relatable and sympathetic. Across the film he tells Phillips that he doesn't want to hurt anyone. It's a line we hear time and time again in films from characters in similar situations, but this time we really believe it. He doesn't intend harm on anyone, he is just trying to make do given the situation he finds himself in. Once a fisherman, his former profession is no longer viable due to the over-fishing by large ships from foreign, Western countries. And he now works under the thumb of a Somali warlord who will force the poor people of Somalia at gun-point to work for him.

At its heart Captain Phillips features two excellent performances, although they really couldn't have come from two more vastly different sources. On the one hand you've got Tom Hanks, one of the most revered and beloved actors of all time. And opposite him you have a completely untested novice in the form of Barkhad Abdi, a man with no acting experience whatsoever or even any desires to become an actor. So two individuals from completely different worlds, and yet Greengrass utilises these two contrasting characters and their abilities superbly. In a long career that has comprised numerous show-stopping performances, this is just another one for the collection for Tom Hanks. How exactly he didn't receive an Oscar nomination for his work is just baffling to me, especially when Christian Bale did for his work in American Hustle, that while very entertaining was a little superficial by comparison.

The only explanation I can come up with to explain his omission is that it's due to him underplaying the part for the majority of the film. He acts very much within himself, ignoring the temptation to showboat, and allowing Abdi to dominate their scenes together. And great respect to him for that as I think a lot of other big name actors would not have been willing to do so. If that wasn't enough to get him a nomination then surely the last 5/10 minutes should be. A while back on here we had a thread about the greatest 60 seconds of acting, looking for people's suggestions of brief snatches of incredible acting. Well Hanks' contribution at the film's conclusion would be well-deserving of mention in that thread. Having played the character with such courage, wit and strength to this point we finally see the great impact that the ordeal has had upon him. It is just heart-wrenching to watch, and even if it only lasts a few minutes you really feel that you've been put through the emotional wringer. And it's made all the more amazing by the fact that the scene in the infirmary was not scripted or even planned. It was improvised on the spot with a real-life Navy doctor. Just an incredible bit of acting. I really do think it's one the most powerful and affecting pieces of acting I've ever seen. I just can't say enough about it.

If the film benefits greatly from Hanks' experience and class, then it benefits just as strongly from Barkhad Abdi's standing as a complete novice. Lacking in any experience or training whatsoever his performance is extremely rough and raw, but the film channels it perfectly into his character of Muse. Along with adding a great degree of authenticity, his rawness brings a great energy to proceedings as well as a sense of unpredictability which works well for the story, meaning that we are never entirely sure what actions his character is going to take next. You know, there's a lot of cynicism about Hollywood and its workings, and rightly so in many respects. However a young man who fled to America to escape civil war being plucked out of complete obscurity to star in his first ever film, a film that earned him a Bafta award and an Oscar nomination? That's a fantastic story. One that illuminates both the American dream and the magic of the movies. While the film is largely a two-hander between Hanks and Abdi, a nice job was done filling out the cast with individuals who really look and feel right in their roles, whether that be of the crewmen on board the hijacked ship or the Somalian pirates.

If Hanks and Abdi thrive in front of the camera then just as impressive is the man behind the camera, Paul Greengrass. At the time of watching Captain Phillips I had just finished writing my review for Man of Steel. In it I criticized the film's use of techniques aimed at giving the film a realistic documentary-like style, but noted that it's a style that can prove fruitful in the right situation. Well this is one of those occasions. Having already proved a dab hand at the shaky cam, docu-realism style with the likes of the Jason Bourne films it's no surprise to find Greengrass revelling in it once again. His frantic, handheld camera really does give a sense of documentary reality that just heightens the tension. In fact the only thing that really pops the illusion of reality is Tom Hanks. Remove his identifiable face for proceeding and you could almost believe you were watching an episode of Deadliest Catch that had just gone horribly wrong! Alongside Hanks' omission, the Academy's decision to overlook Greengrass in the Best Director category is another surprise.

The film actually begins in quite a relaxed fashion for its opening 20 minutes. At the twenty minute mark however we get the pirates' first assault on the ship, and from then on Greengrass barely gives us a moment to breathe for the next 100 minutes. If his intention was to have the audience sitting in a pool of their own sweat then I think he succeeded. The film keeps you forever on edge with its harrowing nature, and on occasion proves to be almost unbearably tense. The final showdown between the pirates and the Navy in particular, with Hanks caught in the middle, is such an uneasy sequence. I actually found myself getting really caught up in the action to the point where my heart was racing a little. In conjunction with his cinematographer (Barry Ackroyd) and editor (Christopher Rouse), Paul Greengrass is able to conceive some thrilling sequences. The attacks on the ship by the pirates are exhilarating scenes, highlighted by Ackroyd's crisp photography of the ships out on the open sea and Rouse's frantic editing that intercuts between the pirates and the crew members. While the sequences later on that are set in the lifeboat are exceptionally uncomfortable in their claustrophobic nature.

While the central story is of course the fascinating and compelling tale of Captain's Phillips' capture, there are also a few other interesting threads to be found. When the pirates capture Captain Phillips and make their way to Somalia in the lifeboat the Naval response initially seems absolutely excessive. You have this tiny little boat with just 4 pirates on board being pursued by a fleet of massive Navy warships, and the extreme contrast in size and power is completely ridiculous. Until you realise that under no circumstances can they allow the pirates to make it back on to Somalian shores, even if that means risking Phillips' life in the process to stop them. Where they to make it back to Somalia they would have to go in to retrieve Phillips. The main viewpoint that I came away with regarding the situation in Somalia and of pirates is that the answer does not necessarily seem to be better defences for the ships or more Navy patrol ships. If you really want to improve the situation the best way to do so would be to improve things on the ground in Somalia; make sure that the people of the country have more options other than to become pirates and hold ships/individuals for ransom.

Conclusion - When it comes to the type of films that are frequently nominated for the Best Picture award at the Oscars there's a phrase I often use to describe them - 'easy to admire, tough to love.' And I think there's definitely a case of that with Captain Phillips, at least for me personally. Except for perhaps a slight lull during the film's second act there is really very little about the film that I could criticise it for. Greengrass' direction is excellent and there is also impressive work in the cinematography, editing and sound departments, while there are two highly impressive performances from Tom Hanks and Barkhad Abdi. And yet for as much as I admired it, I never felt that I really came close to loving it. I didn't stoke a great passion in me.

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No rep from me. You asked Miss Vicky to the prom.

I agree with pretty much all you've said. Good movie and that last scene after Hanks' character is rescued was really heart wrenching.

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I too thought Captain Phillips was a good but not great movie.

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Fear and Loathing in MoFo... The Gunslinger 45's Top 50 Favorite Films

In the 10 Ring: Gunslinger45's reviews

Your review is pretty much on the money here, and I couldn't disagree with anything you've said, great analysis that highlights the strong points and I too find it a little odd that either Hanks or Greengrass did not get a nomination.

Good review. I liked Captain Phillips a bit more than you did, thought it was a terrific, well-made film.

The competition was too good.

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Cobpyth's Movie Log ~ 2019

I'd rate Captain Phillips just a tad higher, but I pretty much agree with all of your points. However, I'm not here to talk about Captain Phillips or Tom Hanks. I'm here to talk about this guy:

Since Yoda renovated the Reviews section, I've been browsing through some of your reviews, and I see that you rated Apocalypse Now a , which makes your low rating for Aguirre much less surprising. You misunderstood Apocalypse Now to be a movie about the Vietnam War, when the Vietnam War is only the setting. Apocalypse Now isn't a war movie, it just happens to take place during one. Thematically, Apocalypse Now is essentially an unofficial sequel to Aguirre, the Wrath of God. In 1560, there was Aguirre. 400 years later: Colonel Kurtz. Two different men from two different centuries, yet both men share the same heart of darkness.

I can assure you that both movies improve exponentially on re-watches, so I encourage you to revisit them at some point. I didn't love Aguirre the first time I watched it, because it was so different from what I was expecting, yet months later I still couldn't stop thinking about it. Something about the movie haunted me, so I eventually re-watched it and I was blown away by it. Then I proceeded to explore the majority of Herzog's filmography and I now consider him one of my favorite directors. There's a level of authenticity and realism in his movies that is unrivaled. The Francis Ford Coppola that was nearly driven mad with ambition during the filming of Apocalypse Now? That's Werner Herzog's entire career. He'll never take the easy way out. He isn't going to film a movie on a sound stage in Hollywood. Instead he's going to film on location, even if that means traveling to a dangerous, unforgiving part of the world where the risk of injury or death is magnified.

Fizcarraldo, my personal favorite, is about a man who transported a steamship over a mountain, so what does Herzog do? He transports a 320-ton steamship over a mountain! No special effects, no camera trickery. In the pursuit of authenticity and realism and artistic perfection, Herzog accomplished something that was nearly impossible, mirroring the man whom he was making a film about. There's an excellent documentary called A Burden of Dreams that documents the numerous troubles, trials and tribulations that were involved with the making of Fitzcarraldo. In the documentary, Herzog is encouraged to abandon the pulley system because the risk of death or serious injury to crew members was very high. But Herzog just asks how many people may die if something were to go wrong. That's how consumed the man is with his art, and I admire the hell out of him for that. He's basically a mad genius, willing to risk his life or the life of others to get that one perfect shot. And Klaus Kinski, his on-screen counterpart, was the perfect Herzog lead, since Kinski was certifiably insane in real life. So when I watch Aguirre, the Wrath of God, I don't feel like I'm watching a fictionalization. Instead it feels like Herzog traveled back in time and filmed a documentary about a real-life conquistador's obsessive pursuit of El Dorado, giving us lucky viewers a window into another man's soul.

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I agree with your Captain Phillips review, JayDee. I also found it to be very impressive and enjoyable. Yet I have no desire to see it again and I'll probably completely forget about it. I have no idea why that is.

Plot - The true story of Captain Richard Phillips (Hanks) who in 2009 was the captain of the American container ship Maersk Alabama which was hijacked by a crew of Somali pirates, and who subsequently found himself taken hostage by the pirates on board one of the ship's lifeboats. Leading the pirates is their Somalian captain Muse (Abdi), a former fisherman now forced into the world of piracy. When the pirates are able to board the ship a battle of both wills and wits unfolds between the two captains, a battle that eventually sees Captain Phillips captured and placed on a lifeboat heading for Somalia. Between the small lifeboat and its desired destination however stands the United States Navy who cannot afford to let them reach Somalia under any costs.

In terms of quality I'm aware that I'm probably undervaluing Captain Phillips. It's an exceptionally well-made film that features two tremendous performances, and yet for whatever reason I just wasn't as passionate about it as I expected and hoped I would be.

One of the things about Captain Phillips that I most admired was its multi-layered approach to the story. For a story such as this it would have been so easy to deliver a really jingoistic, rah-rah 'yay America!' type of film that painted the Somalian pirates as these evil, faceless villains and Phillips as this great American hero. It's a move we've seen several times before from Hollywood. Instead the script takes the time to showcase the actual character of the Somali pirates, and attempts to highlight just why these men feel like they have to resort to such actions. The film takes the perhaps brave move of making the characters, particularly Abdi's Muse, both relatable and sympathetic. Across the film he tells Phillips that he doesn't want to hurt anyone. It's a line we hear time and time again in films from characters in similar situations, but this time we really believe it. He doesn't intend harm on anyone, he is just trying to make do given the situation he finds himself in. Once a fisherman, his former profession is no longer viable due to the over-fishing by large ships from foreign, Western countries. And he now works under the thumb of a Somali warlord who will force the poor people of Somalia at gun-point to work for him.

At its heart Captain Phillips features two excellent performances, although they really couldn't have come from two more vastly different sources. On the one hand you've got Tom Hanks, one of the most revered and beloved actors of all time. And opposite him you have a completely untested novice in the form of Barkhad Abdi, a man with no acting experience whatsoever or even any desires to become an actor. So two individuals from completely different worlds, and yet Greengrass utilises these two contrasting characters and their abilities superbly. In a long career that has comprised numerous show-stopping performances, this is just another one for the collection for Tom Hanks. How exactly he didn't receive an Oscar nomination for his work is just baffling to me, especially when Christian Bale did for his work in American Hustle, that while very entertaining was a little superficial by comparison.

The only explanation I can come up with to explain his omission is that it's due to him underplaying the part for the majority of the film. He acts very much within himself, ignoring the temptation to showboat, and allowing Abdi to dominate their scenes together. And great respect to him for that as I think a lot of other big name actors would not have been willing to do so. If that wasn't enough to get him a nomination then surely the last 5/10 minutes should be. A while back on here we had a thread about the greatest 60 seconds of acting, looking for people's suggestions of brief snatches of incredible acting. Well Hanks' contribution at the film's conclusion would be well-deserving of mention in that thread. Having played the character with such courage, wit and strength to this point we finally see the great impact that the ordeal has had upon him. It is just heart-wrenching to watch, and even if it only lasts a few minutes you really feel that you've been put through the emotional wringer. And it's made all the more amazing by the fact that the scene in the infirmary was not scripted or even planned. It was improvised on the spot with a real-life Navy doctor. Just an incredible bit of acting. I really do think it's one the most powerful and affecting pieces of acting I've ever seen. I just can't say enough about it.

If the film benefits greatly from Hanks' experience and class, then it benefits just as strongly from Barkhad Abdi's standing as a complete novice. Lacking in any experience or training whatsoever his performance is extremely rough and raw, but the film channels it perfectly into his character of Muse. Along with adding a great degree of authenticity, his rawness brings a great energy to proceedings as well as a sense of unpredictability which works well for the story, meaning that we are never entirely sure what actions his character is going to take next. You know, there's a lot of cynicism about Hollywood and its workings, and rightly so in many respects. However a young man who fled to America to escape civil war being plucked out of complete obscurity to star in his first ever film, a film that earned him a Bafta award and an Oscar nomination? That's a fantastic story. One that illuminates both the American dream and the magic of the movies. While the film is largely a two-hander between Hanks and Abdi, a nice job was done filling out the cast with individuals who really look and feel right in their roles, whether that be of the crewmen on board the hijacked ship or the Somalian pirates.

If Hanks and Abdi thrive in front of the camera then just as impressive is the man behind the camera, Paul Greengrass. At the time of watching Captain Phillips I had just finished writing my review for Man of Steel. In it I criticized the film's use of techniques aimed at giving the film a realistic documentary-like style, but noted that it's a style that can prove fruitful in the right situation. Well this is one of those occasions. Having already proved a dab hand at the shaky cam, docu-realism style with the likes of the Jason Bourne films it's no surprise to find Greengrass revelling in it once again. His frantic, handheld camera really does give a sense of documentary reality that just heightens the tension. In fact the only thing that really pops the illusion of reality is Tom Hanks. Remove his identifiable face from proceeding and you could almost believe you were watching an episode of Deadliest Catch that had just gone horribly wrong! Alongside Hanks' omission, the Academy's decision to overlook Greengrass in the Best Director category is another surprise.

The film actually begins in quite a relaxed fashion for its opening 20 minutes. At the twenty minute mark however we get the pirates' first assault on the ship, and from then on Greengrass barely gives us a moment to breathe for the next 100 minutes. If his intention was to have the audience sitting in a pool of their own sweat then I think he succeeded. The film keeps you forever on edge with its harrowing nature, and on occasion proves to be almost unbearably tense. The final showdown between the pirates and the Navy in particular, with Hanks caught in the middle, is such an uneasy sequence. I actually found myself getting really caught up in the action to the point where my heart was racing a little. In conjunction with his cinematographer (Barry Ackroyd) and editor (Christopher Rouse), Paul Greengrass is able to conceive some thrilling sequences. The attacks on the ship by the pirates are exhilarating scenes, highlighted by Ackroyd's crisp photography of the ships out on the open sea and Rouse's frantic editing that intercuts between the pirates and the crew members. While the sequences later on that are set in the lifeboat are exceptionally uncomfortable in their claustrophobic nature.

While the central story is of course the fascinating and compelling tale of Captain's Phillips' capture, there are also a few other interesting threads to be found. When the pirates capture Captain Phillips and make their way to Somalia in the lifeboat the Naval response initially seems absolutely excessive. You have this tiny little boat with just 4 pirates on board being pursued by a fleet of massive Navy warships, and the extreme contrast in size and power is completely ridiculous. Until you realise that under no circumstances can they allow the pirates to make it back on to Somalian shores, even if that means risking Phillips' life in the process to stop them. Where they to make it back to Somalia they would have to go in to retrieve Phillips. The main viewpoint that I came away with regarding the situation in Somalia and of pirates is that the answer does not necessarily seem to be better defences for the ships or more Navy patrol ships. If you really want to improve the situation the best way to do so would be to improve things on the ground in Somalia; make sure that the people of the country have more options other than to become pirates and hold ships/individuals for ransom.

Conclusion - When it comes to the type of films that are frequently nominated for the Best Picture award at the Oscars there's a phrase I often use to describe them - 'easy to admire, tough to love.' And I think there's definitely a case of that with Captain Phillips, at least for me personally. Except for perhaps a slight lull during the film's second act there is really very little about the film that I could criticise it for. Greengrass' direction is excellent and there is also impressive work in the cinematography, editing and sound departments, while there are two highly impressive performances from Tom Hanks and Barkhad Abdi. And yet for as much as I admired it, I never felt that I really came close to loving it. I didn't stoke a great passion in me.



Standout Moment -The last two minutes of the film which features some of the most incredible acting I've ever seen courtesy of the great Tom Hanks.

Like this format Jaydee. Pretty slick looking.

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Letterboxd

Looks sh*t

Well that's very constructive!


Anyone else got something a little bit more helpful perhaps in terms of what elements (if any) I should try to incorporate into my reviews, or which elements definitely don't work?

Shorter paragraphs almost always make things more readable. Maybe break the trivia up a bit more so it's easier to distinguish each one (IE: bolding the slashes). Other than that, I think they look great.

I'll be honest, I always skip over the film trivia.

Just my input...


I break mine into paragraphs as much as possible, but one thing I try to remember...


My layout goes:
First Part: Synopsis
Second Part: General Construction Of The Film
Third Part: Acting/Actors
Fourth Part: Effects/Action
Fifth Part: All In All Roundup


When I go from one part to the next, I put in two empty lines rather than just the usual one line that's between the regular paragraphs... it shows the reader you're on to the next part, and doesn't busy the eye with what looks like endless text.
I find that simple extra gap makes a massive difference.

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one helluva awesome post Spaulding

I'd leave the format the same as it was, but just incorporate a couple of pictures into the review itself, as you did when you re-posted the Captain Phillips review. All the other stuff--- the trailer, the See This If You Liked, etc.--- is superfluous.

The amount of time you put into these reviews---- from the length to the formatting to the trivia and everything else--- is very admirable. I can't imagine how much time you must spend on some of these.

It looks great, JD, but I think you're giving too much. Review, a poster or two and the cast is more than enough. Depending on how interested I am in the film (or just bored and wanting something else to read) will determine whether I read the trivia or not, but I can't think that I'll watch the trailer.

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5-time MoFo Award winner.