CAPTAIN PHILLIPS (7.5 out of 10) – Starring Tom Hanks, Barkhad Abdi, Michael Chernus and Catherine Keener; rated PG-13 (sustained intense sequences of menace, some violence with bloody images, and for substance use); with English subtitles (Arabic and assorted African dialects); in general release, showing in either the 35mm or IMAX formats (in select locations); running time: 134 minutes.
For better or worse, English-born director Paul Greengrass has become the poster child for both the big-screen docudrama and the digital cinema verite filmmaking style.
His trademark use of handheld cameras, grainy digital photography and similarly gimmicks techniques worked well on both the 2002 independent hit “Bloody Sunday” as well as the acclaimed 2006 thriller “United 93,” stories were well-suited for such things. (For those unfamiliar with either of those films, “Bloody Sunday” told the story of an Irish protest that turned into a massacre in 1972; “United 93” focused on the now-folk hero passengers of the ill-fated, 9/11-related flight.)
However, Greengrass and his crew overuses the so-called “shaky-cam” technique in two “Bourne” movies, 2004’s “The Bourne Supremacy” and 2006’s “The Bourne Ultimatum.” Not only did the camera work detract from some of the action (in particular, a headache-inducing “Supremacy” car chase scene), it has Greengrass verging on self-parody. For lack of a better word, his style had become veri-tiresome.
His latest is “Captain Phillips,” yet another docudrama-styled tale that based on a true story (it adapts the best-selling nonfiction novel “A Captain’s Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea”). The thriller sees Greengrass trying to strike a better balance between and more conventional filmmaking and storytelling devices. It’s a welcome change, though the often-thrilling and well-acted tale is not without its share of problems. (More on that later.)
Hanks stars as the title character, Richard Phillips, the captain of the MV Maersk Alabama. In 2009, the Phillips-captained Alabama became the first American cargo ship to be hijacked in a couple of centuries. Through various means, the real-life Phillips tried to keep his crew, ship, cargo and himself (obviously) safe from modern-day pirates.
According to this version of events, the cargo liner is bearing food and other supplies for relief efforts in poverty-stricken Somalia, ironically enough. Unfortunately, it’s the one ship in the waters that’s not accompanied by US Navy protection or isn’t traveling in a group. So it’s been targeted by a handful of Somalis, who are in hot pursuit in their somewhat rickety water craft.
The crafty Phillips manages to ward off one attempt by these pirates to board his ship. But one of the boats finally catches up, and a handful of Somalis get aboard the Alabama, taking Phillips hostage at gunpoint. Led by the no-nonsense Muse (Barkhad Abdi), these are desperate men, and they’re convinced they can actually steer the Alabama back to their homeland.
Phillips, though, has other plans. Not only does he keep most of the crew hidden in the ship’s engine room, where they ward off attempts at discovery, eventually he convince the pirates to take off with the Alabama’s lifeboat and the contents of the ship’s safe. But Muse and his fellow pirates also capture Phillips, whom they plan to hold for more ransom.
While the Maersk Alabama’s crew tries keep up with the lifeboat, Phillips’ best hope lies with US Navy ships that are in the area. A SEALS team is en route, and hopefully they can stop the lifeboat before the pirates can reach home.
Again, Greengrass tones down his worst stylistic tendencies and tells this story in a mostly straightforward fashion. However, he and screenwriter Billy Ray made a questionable decision when they painted characters in certain, curious shades. While Hanks’ Phillips is noble and human, most of his crew (save for perhaps, his heroic second-in-command, played by Michael Chernus) is shown to be selfish and even a bit cowardly. That’s a stark contrast with the Somali pirates, at least two of whom are depicted rather sympathetically.
Also, while it’s become a tired refrain from yours truly to say that a movie is too long, at 134 minutes, “Captain Phillips” feels a little flabbier than Hanks’ waistline.
Among the more needless sequences: Greengrass shows us Phillips’ humdrum, pre-piracy activities, including a brief chat between our hero and his wife (an underused Catherine Keener). This gets the film off to a less-than-enthralling start.
Still, that’s not to say that the film doesn’t have its share of rewarding moments. Like last year’s Oscar-winning “Argo,” the movie may cause you to grip your armrest in suspense — even if you’re already familiar with the story. The last hour, in particular, is very intense.
And, of course, that’s not meant to slight the cast, which is led by the always-solid Hanks. Another, less confident performer could have turned the Phillips character into a one-note creation, but thanks to Hanks’ seemingly effortless performances, we feel his horror and his fear as well as his commitment to his crew and his family.
As for newcomer Abdi, he not only resembles character actor Michael K. Williams, but his brooding intensity may remind some of the very memorable, watchably-dangerous character Williams played on HBO’s acclaimed television series “The Wire.”
Jerk-bot, aka Jeff Michael Vice, can also be heard reviewing films, television programs, comics, books, music and other things as part of The Geek Show Podcast, and can be seen reviewing films as part of Xfinity’s Big Movie Mouth-Off.