Greyhound

Greyhound is watchable but entirely fanciful. Tom Hanks is a Captain of a destroyer taking on the u-boat menace. He's fearless, god fearing, modest and faces down hordes of u-boats who are out to get him. The enemy goads him, sends u-boats to face off with destroyers in 18th century style exchanges and sails around on the surface following his floatilla, in open defiance. Now for an injection of reality. U-boats did not take on destroyers in surface battles of the kind you see in this film. They did not goad their captains (and records show they took no pleasure in the job they did) nor did they let the destroyer know they were there. This is a fiction and a rather silly one at that. U-boats were not a match for a destroyer, in any sense and made every effort to evade them. The US in the early days of this war, were hopelessly outclassed by u-boat packs. It took considerable time before they started defending merchant shipping. Their admirality mostly declined advice and help from their more experienced, British counterparts. This predictably made the situation a lot worse. Eventually they did catch up but only after suffering massive losses. This film is, in short, a fiction. Its entertaining, its well acted, I do like Tom Hanks and the action scenes whilst in many instances ridiculous, are well rendered and frenetic. So by all means watch Greyhound for pure entertainment but don't expect a "Das Boot" experience by any means. Its worth mentioning too that even Das Boot was not 100% correct but a lot closer to the truth than this film could ever hope to be. 6/10.

When you hear the words “a Tom Hanks war movie,” there are certain expectations of quality that flash in your head (with good reason). Perhaps that’s why “Greyhound” feels like such a disappointment. This World War II military action film is one of the most boring war movies I have ever seen. The screenplay, written by Hanks and based on the novel “The Good Shepherd” by C.S. Forester, recounts the fictional story of Captain Krause (Hanks), a veteran Navy officer who is serving as a first-time captain of a U.S. destroyer. Krause is tasked with protecting a convoy of three dozen ships carrying thousands of soldiers and supplies across the Atlantic. Krause and his men must navigate the treacherous waters for five days with no air support, relying only on the aid of two additional escort ships in an area of the ocean dubbed the “Black Pit.” Things get really bad when the fleet is attacked by Nazi U-boats, and a lengthy battle of ships vs. submarines breaks out. The story is inspired by events that took place during the Battle of the Atlantic in the early days of WWII, but it’s not a true story. If that wasn’t enough of a bummer, the film is mediocre all around. From the dreadful original score (by Blake Neely) to the weak special effects and dreary cinematography, the movie screams “low budget” in more ways than one. It’s not cinematic, and the production values look and feel cheap. The film is poorly directed (by Aaron Schneider), who seems to hold a pathetic understanding of the architecture of visual excitement and suspense. Hence, the wartime action is mediocre and dull, and the entire project is little more than a crudely edited jump cut fiesta. Hanks has written his character in such a one-dimensional manner that all Captain Krause really does is quote Bible verses and bark military lingo. The film assumes an advanced knowledge of technical military terms, making it all to easy to check out of the experience. It’s also overly religious, to the point that it could easily be a faith-based film. “Greyhound” is nothing more than one long, non-exciting battle between a warship and submarines. There are far too many good war movies to spend your time watching than this blunder.

Let this review reflects that I really enjoyed this movie. It seems a lot of war movie fans didn’t, so since I only enjoy the occasional war film, perhaps it makes sense I would like Greyhound. It is a surprisingly short movie at just over 90 minutes. Since I am a writer (though not a successful one), I can imagine the scriptwriter (wait, Tom Hanks!?) wanting to compress the action to help give the film a sense of immediacy, a pacing to match the key moments of battle. But who knows, besides Hanks and a few others? Not all war movies need to be of epic proportion; let’s allow some of them to simply tell a compelling story, if only for non war movie fans such as Myself. Most of the acting is restrained, and that makes sense. This was the captain’s first real gig on patrol, so he needed to present a calm, commanding presence no matter how his insides twirled and spun. As for the crew, their lives depended upon staying cool under pressure. I really liked Stephen Graham’s quiet confidence in his crucial role interpreting the sonar. I thought there was enough tension to drive the story forward, especially when you consider that the most tense moments are when you don’t see anything - while the U-Boat subs are under water. There has been chatter that this war film is not realistic or accurate in key details, but I wonder about that. I see where the novel by C. S. Forester that the movie is based on was used as a navy training text for many years. So there’s that. I plan to watch Greyhound again, as it strikes me as one of those movies that might reveal subtle details with a second viewing. That’s my story and I am sticking to it, as it gives mer a reason to re-watch it. *** Note: I just watched it a second time, and I stand by my positive review. I caught a few details I missed the first time by having the captions turned on. ***

I never thought I'd see Tom Hanks starring in a feature film with the same production values as a SyFy Channel original movie, but here is Greyhound – an otherwise tight, lean, and straightforward picture. Director Aaron Schneider and Hanks, who also wrote the script, do a good job developing suspense and urgency; for example the opening sequence wherein the crew of the Fletcher-class destroyer Greyhound patiently stalks and intercepts a German submarine before eventually blowing it up with depth charges, or when, after the hunter becomes the hunted and the American destroyer comes under heavy fire, the captain of the Greywolf – another, much more fearsome, German submarine – radios the Greyhound to taunt the crew with omens of doom; other than this disembodied voice we hear or see no Nazis, and the Greywolf, like Moby Dick, appears only until the very end, all of which adds to the sense of constant, ever-present danger. Greyhound is best when decisions are made and orders are given on the ship’s bridge. Unfortunately the thrill of the hunt loses its impact when we peek outside and see that the Greyhound is surrounded by a completely computer-generated sea – as if it's sailing through an ocean of half-congealed grape jelly. Say what you will about Waterworld, but at least it was honest; I don't care if they used a real body of water or just dug a giant pit and filled it one bucket at a time – the point is, it was honest-to-goodness H2O. On the other hand, Greyhound's Atlantic Ocean and everything in it – ships, submarines, explosions – achieves a level of fakery that not even Hanks's considerable gravitas can overcome. As far as I'm concerned, he's just playing a real-time strategy video game, to the point that when someone died I didn't care; I would just tell myself, “it’s okay, it was just another non-playable character.”