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Greyhound Reviews
The movie itself doesn't really have an identity and isn't too interesting...It's just a very 'okay' film.
Clocking in at a remarkably brisk 85 minutes, GREYHOUND is a lean and mean action thriller that's more respectable than thrilling.
A layered performance from the lead star, who also wrote and produced the film, elevates this from being a mere at-sea war thriller.
Tom Hanks is fantastic as the protagonist, but his screenplay is far from truly being one. All dialogues revolve around characters (mostly Hanks') calling naval instructions for most of the runtime and looking either through a window or binoculars.
Greyhound’s inability to venture further into the depths of wartime psychology leaves it susceptible to being forgotten just as quickly as it emerged.
While Greyhound has aspects that are well done, it does lack in its storytelling. It needed a more focused plot and better developed characters.
An industrial product with blueprints and algorithms... Tom Hanks does a good job. [Full review in Spanish]
Whilst the outer shell of Greyhound is undoubtedly a war movie, Hanks’ screenplay actually structures it as a horror film... Tight shots keep you in the heart of the action and increase the sense of claustrophobia.
It could have done more with its characters or built more of a backstory. But it’s the willingness to stick to its guns (no pun intended) that makes the movie such a thrilling war-time experience.
Greyhound is probably the best film you didn't see in 2020 and 2021.
Greyhound doesnt break the mold for war films, but it does serve as a pulse-induing journey and a vital tale of leadership and exemplary team heroism.
Here's a war film that cares nothing for contexts, human or political, and instead dwells on recreating a battle.
As is, Greyhound is a competent war film with some decent ideas sprinkled throughout that sadly becomes dull with bland action and visuals.
Although designed for cinemas, this story about an Allied convoy trying to survive a pack of U-Boats mid-Atlantic grips from the word go, even while inevitably losing the immersive effect it would have enjoyed on a huge screen.
It doesn't help that there is zero character build-up for Ernest Krause, making our care for him come from Hanks' dedicated performance and not a memorable mid-war maneuver.
Hanks gives us a tense, terse, thriller shorn of all but the most vital events.
Two things set Greyhound apart: its clean visual geometry and its narrative economy.
Just as Captain Krause's unflappable demeanour reassures his crew, Hanks' presence at the helm of this thoroughly well-meaning film lets us know that nothing is going to torpedo its righteous finale.
With the action necessarily repetitive and tension too often maintained at the expense of real suspense, much of the film rests on what Hanks can deliver as an actor, and here he does not disappoint.
Hanks' screenplay is wall-to-wall shop talk for nautical war buffs. The generously attentive tech talk carries with it a certain degree of intellectual exhilaration.