Film Review: "The 15:17 to Paris" (2018).

"A true story. The real heroes." This is The 15:17 to Paris. This biographical drama film produced and directed by Clint Eastwood, adapted by Dorothy Blyskal, based on the autobiography The 15:17 to Paris: The True Story of a Terrorist, a Train, and Three American Heroes by Jeffrey E. Stern, Spencer Stone, Anthony Sadler, and Alek Skarlatos. The film tells the real-life story of three men whose brave act turned them into heroes during a high-speed railway ride. In the early evening of August 21, 2015, the world watched in stunned silence as the media reported a thwarted terrorist attack on Thalys train #9364 bound for Paris—an attempt prevented by three courageous young Americans traveling through Europe.

After the release of Sully (2016), Eastwood was attached to direct Impossible Odds. However, the project failed to commence and needed more time in development. Thus Eastwood needed another project. In late April 2017, it was announced that Eastwood would next direct the film from a screenplay by Blyskal, a newcomer, based on the book The 15:17 to Paris: The True Story of a Terrorist, a Train, and Three American Heroes. It was announced that Eastwood would begin casting immediately for a principal production start date of later that year. In late June 2017, it was rumoured that Eastwood had chosen Kyle Gallner, Jeremie Harris and Alexander Ludwig to star as Alek Skarlatos, Anthony Sadler and Spencer Stone although offers had not yet been made. Ultimately, in early July 2017, it was announced that Eastwood had cast Sadler, Skarlatos and Stone as themselves in the film. By early August, Mark Moogalian, Isabelle Risacher Moogalian, Chris Norman were attached to play themselves. In addition, Judy Greer, Jenna Fischer, Ray Corasani, P. J. Byrne, Sinqua Walls, Tony Hale, Thomas Lennon, and Jaleel White rounded out the cast. It was also announced that the film had commenced principal production. This film marks the first time that Eastwood and DP Tom Stern used Zeiss Master Anamorphic lenses, which have the least anamorphic distortion. Their previous anamorphic shot movies were filmed in Panavision.

The film stars Stone, Sadler, Skarlatos, Mark and Isabelle Risacher Moogalian, and Norman as themselves, with Greer, Fischer, Corasani, Byrne, Walls, Hale, Lennon, and White. Despite the efforts given, especially from the real-life figures, one can not help but feel that their performances feel somewhere between wooden performances from standard Hollywood action thrillers and reenactments from History Channel programs.

Competently shot and directed, The 15:17 to Paris is a compelling story that unfortunately gives in to convention too often. Eastwood gives a predictably powerhouse direction, but the film stumbles in all other departments: dull action, confusing narrative, and humdrum storytelling. It's too bad the film is so shapeless and turgid and ham-handed, so rich in bad lines and worse readings. Eastwood's focus on Sadler, Skarlatos and Stone is so tight that no other character comes through as a person, and the scope so narrow that the film engages only superficially with the many moral issues surrounding the event.

Simon says The 15:17 to Paris receives:

Also, see my review for Sully.