I wasn’t quite impressed enough by this one to devote anything more than a micro-post to it. It is very watchable; Hanks does his stuff with ease, growing into his age and his beard very well. He engages us in every scene as he always has in everything he does. Yet here he exhibits some generosity in allowing unknown German newcomer Helena Zengler to shine in a terrific supporting role as the young girl he reluctantly adopts and transports through an old West full of obnoxious dangers and ignorant men.
Hanks is a reader for hire who draws a crowd by pronouncing the news from a paper to those who cannot read for themselves – a device that is used effectively, if predictably, in the final third of the film as the action and antagonism heats up. The whole presented by Paul Greengrass, a fine director, feels both authentic and artificial at the same time. It feels professional and polished, but also very Netflix and not entirely cinematic.
The chemistry between the father figure and daughter figure is great, moving and significant enough to carry the story and prompt empathy. There are some lovely scenes and some fine camera work to enjoy. And I did enjoy it. Perhaps not enough to get excited about recommending it, but certainly enough to say it is better than you might expect for a film that didn’t get too much attention on release, or at any big awards ceremony. A totally harmless middle of the road Sunday kind of movie, then. It will appeal most to Tom Hanks fans and anyone who loves to see this period of history recreated on the screen.
Decinemal Rating: 68
The Wasteland 