Captain Phillips

You won’t worry much about the life of Phillips, the hostage portrayed by Tom Hanks, because every character in the film knows that killing him would be of no benefit to anyone. This certainty, which diminishes the film’s level of suspense, weakens only in the final minutes. Apart from this, Captain Phillips is an interesting case of “how can he get out of this”. In this respect, United 93 allowed Paul Greengrass to make a stronger emotional impact on the viewer. Hiding the US NAVY propaganda behind the camouflage of stunning action filmmaking, which will satisfy even the more discerning viewer, however, is something no other contemporary director could do better. And Hanks rules. (22/11/2013)

If you are afraid that Greengrass' shaky camera and grainy image will be missing, be calm, it's here again and there's plenty of it. Moreover, no one can do an ad for the US Navy as sophisticatedly and inconspicuously as him. And Tom Hanks is also excellent. It doesn't have the momentum of United 93 (greater fatefulness) or the Bourne films (a more attractive, action-packed theme), but it's still an original film, full of gripping moments and excellently acted scenes. (07/12/2013)

United 93 draws on the worldwide echo of September 11th, Green Zone on the trauma of the Iraq war, and I do like the character of Agent Bourne, but if I had to answer the question of which Greengrass film I value the most, I wouldn't hesitate for even a second. Captain Phillips combines a strong and sympathetic hero, a dramatic situation, awareness of artistic reconstruction of real events, and last but not least, the presence of a dangerous opponent in the form of a pirate captain. The cinematography is clear this time, and the director moves from the spacious cargo ship to the claustrophobic environment of the rescue boat at the right time. The story focuses on the depiction of a specific case of maritime piracy, but it also says something about the phenomenon of banditry on the shores of Somalia, about senseless regulations that bind merchant ships, and about the fact that every phenomenon has its background, and pirate crews, with their dependence on clan leaders and existing poverty, actually have no choice. Tom Hanks was born for this role, and I find no weaknesses in the film that are worth mentioning. Overall impression: 90%. (20/10/2017)

It’s hard to praise this type of movie better than saying that the creators make it hard for the viewer even to catch their breath for all the suspense here. Despite the fact that they already know not only the result, but (probably) even how the action is going to pan out. The whole thing is underpinned by an unusually powerful final scene in the treatment room which is deserving of all the actors awards in existence. (12/11/2013)

A superb dramatization and high-octane exhibition of filmmaking adrenaline that once again elevates pseudo-documentary realistic authenticity to a full-blown blockbuster experience. Although Greengrass goes about this unlike anyone from the numerous rows of his many "copy & paste" colleagues, it's a bit of a safe bet on his part, with the camera looking over his shoulder and whizzing between faces just long enough for you to know who he's thinking of. It's not boring at all, but it does last about fifteen minutes longer than audiences would like. Then it would be a fuller experience. And let's face it, when was the last time you saw a Navy SEALS presentation this short and impactful? PS: Hans Zimmer is thanked in the credits, but as the central motif unfolded, I kept subconsciously waiting for the black hood to appear. 4 ½. (09/09/2014)