Directed By: Craig Gillespie
Written By: Eric Johnson, Paul Tamasy, Scott Silver
US Box Office: $10.3M
Runtime: 1 hr. 57 min.
Walt Disney Pictures: – Official Site
The Coast Guard makes a daring rescue attempt off the coast of Cape Cod after a pair of oil tankers are destroyed during a blizzard in 1952.
I expected nothing special and wound up being thoroughly exhilarated.
Too few of Hollywood’s recent offerings can boast such a simple throughline and know when to wrap it up.
A remarkable tale, confusingly told. Impressive storm sequences and a very good Pine almost save the day.
Sturdy and seaworthy, it’s another old-fashioned profile in courage…
It’s a story tailor-made for Hollywood-it’s remarkable that it hasn’t been filmed before-but virtually everything goes wrong except the CGI and sound effects.
It tells us more about heroism in real life than many a Hollywood fiction.
The picture embraces old-fashioned values and a little schmaltz in its portrait of decent men going above and beyond the call of duty.
The Finest Hours is an odd hybrid, starting out as a period romance before veering into rescue-at-sea adventure territory. That it manages both feats imperfectly is probably more a factor of trying too hard at each rather than skimping on either.
If I learned two things while watching The Finest Hours, it’s that Chris Pine needs a towel and that director Craig Gillespie really wants to be Steven Spielberg.
There is a weighty tactility and sense of scale in the split-oil tanker scenes that wasn’t present in either The Perfect Storm or Titanic.
Giant waves flinging various vessels around willy-nilly, a crew racing to the rescue, another struggling to stay afloat long enough for them to arrive: All of this works. But whenever the movie does anything else…?
It’s not long before you realize that Ray’s eyes tell their own story, more hauntingly and more urgently, than any of the plot’s clunky machinations.