Sully -- Clint Eastwood & American Psychic Wounds | National Review

Sully, with its melancholy undercurrent, strikes a necessary balance between dread and characterizing Sullenberg and co-pilot Jeff Skiles (Aaron Eckhart) and others in the flight crew as credible, conscientious people. This is the most affecting portrait of Americans at work since Oliver Stone’s World Trade Center. These faces are believably unglamorous; the actors convey convincing blue- and white-collar normalcy. Tom Hanks is in a “heroic” mode different from any he’s been in before, capturing the suppressed egotism of the real Sullenberger. This difficult trait gives distinction to Eastwood’s class-based survey, which includes not only the proficient ferry crews and scuba cops who came to Flight 1549’s rescue but also the NTSB’s bureaucratic hostility. (Note how Anna Gunn as a board adjudicator minimally conveys more credible career struggle than she did in her lame feminist vehicle Equity.) There’s a folkloric quality here that, on reflection of 9/11, is a moving reminder of human decency. It’s better than the mainstream media’s reflexive term “heroism.”

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