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At times he is so intent on creating a fairytale atmosphere that you can practically feel the fairy dust being shoveled down from the rafters. Entertaining as it is the movie still runs way too long stuffed to the gills with false endings too many subplots too many characters and too much dialogue. When Hanks tells Saldana with much gravity “He waits for you at Sbarro ” there is a knowing discomfiting chuckle at the thought thatĪcross the country the most important moment of someone’s life may well be taking place in a food court.
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The movie’s best moments are the wry absurdities of bureaucracy with Hanks and Tucci and the mall-ification of the airport. He keeps it moving at a breakneck pace that is right up until you figure out where he’s headed. And all the other problems one imagines–food money shelter–are dealt with inventively. He trades expertly on the anxiety everyone has felt who has had their passport stamped in a foreign language. A movie this contrived requires an expert at suspending disbelief and Spielberg is a master. It’s too bad that delicious black irony has no place in Spielberg‘s childlike world of wonderment.īut if you’re going to spend $60 million on a movie set entirely in an airport having Spielberg direct it isn’t the worst idea.
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In the real-life story the Iranian man lost his mind and refused to leave the airport once permission was granted. Leave it to Steven Spielberg to create his own sub-genre the warm and fuzzy Kafka-esque nightmare.
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It’s a brilliant acting choice and an excellent choice of actors. In Catch Me If You Can particularly shines as the uptight callous bureaucrat who remembers once having heart of gold and now deeply regrets its loss. Stanley Tucci playing the foil as Hanks did The rest of the cast is in fine form as well with Diego Luna ( Y Tu Mama Tambien) and the luminous Zoe Saldana ( Drumline) livening up the film’s most superfluous subplot (of which there are many). Perhaps the demands of motherhood (or Douglashood) preclude her from spending more time on a set. Her flight attendant Amelia is a worthy love interest for Viktor but again for Zeta-Jones it’s a tiny empty role barely more fleshed out than her Oscar-winning cameo in Chicago. Catherine Zeta-Jones proves once again that there isn’t an actress working today that the camera loves more. The way Hanks plays it he could be any of us stuck in the airport. He’s funny in the absurdist way the role requires his thick Slavic accent is easily convincing and he’s also poignantly ordinary. He doesn’t have as much to do here the stakes just aren’t as high but Viktor Navorski is the best combination of the funny Hanks and the Method-y Hanks yet. I thought his work in Road to Perdition was his best yet so understated it was heartbreaking. The middle-aged Hanks has eased up though much to Tom Hanks used to be our top comic actor but as he took on dramatic roles and the Oscars began flowing he appeared to be trying so hard he might crack. Unable to enter America and unable to return home Viktor goes about building a temporary new life for himself inside the airport. Tom Hanks plays Viktor Navorski a traveler from the fictional country of Krakhozia who learns upon landing at JFK in New York that a civil war at home has put a serious crimp in his visa plans. The Terminal is based loosely around the real-life story of an Iranian man who was trapped by a bureaucratic snafu at Charles DeGaulle Airport outside Paris and then simply refused to leave once he was cleared.