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    Movie Review

    Tom Hanks and intense story make Greyhound another WWII winner

    Alex Bentley
    Jul 10, 2020 | 12:09 pm
    Tom Hanks in Greyhoundplay icon
    Tom Hanks in Greyhound.
    Photo courtesy of Apple TV+

    No modern-day actor is more inextricably linked to World War II films than Tom Hanks. In addition to starring in Saving Private Ryan, he also served as a writer, director, and producer for the miniseries Band of Brothers, and produced and narrated the miniseries The Pacific. He now returns to the war he knows so well with Greyhound.

    Having tackled the lives of men in the Army and Marines in other projects, Hanks now turns to the Navy. He stars as Captain Krause, who’s at the helm of the U.S. destroyer Greyhound, which is charged with protecting a convoy of ships delivering supplies to the troops in Europe early in the war. Their enemy is a seemingly never-ending stream of German U-boats, aka submarines.

    The film, directed by Aaron Schneider and adapted by Hanks from the C.S. Forester novel The Good Shepherd, takes the day-in-the-life approach to the story. After a brief prologue involving Krause and his girlfriend Evelyn (Elisabeth Shue), the film takes place entirely on the water, with Krause doing everything in his power to keep the convoy and his own ship afloat. Although the story transpires over several days, the effort by Krause and his crew is non-stop, giving the film a constant tension.

    There have been plenty of submarine movies over the years, but relatively few have centered on naval ships. That alone turns out to be enough reason for Hanks and the rest of the film’s team to return to the well-worn subject matter of World War II, which is one of most covered subjects in film history, if not the leader.

    The film is full of naval jargon that sounds impressive but will likely go straight over the heads of 99 percent of viewers. The cumulative effect is of a commander in full charge of his men and the battles at hand, and of a crew that has been expertly trained for situations like the ones they’re facing. Sure, mistakes are made, but they’re rarely fatal ones.

    The firefights are almost all-CGI, but they are impressive nonetheless. The barrage of gunfire large and small, depth charges, and torpedoes combine to make the majority of the film tense and intense. But the filmmakers almost always concentrate on the larger picture, forgoing most individual heroics for a picture of a group that works together seamlessly.

    One character that is highlighted turns out to be a misstep, as it’s a half-hearted inclusion of a black character, mess mate George Cleveland (Rob Morgan). His official duty appears to be to bring the captain food whenever he needs it, and the portrayal has a wrong stench right from the start. There’s lip service paid to some off-screen heroism by him, but overall it would’ve been better to leave this particular character out of the film altogether.

    Hanks is completely at home in the role of the calm, steady, and virtuous Captain Krause, but that’s not to say that his acting is not impressive. He doesn’t have any individual standout moments, but few could inhabit a role like this with such ease and precision. Also great are Stephen Graham as executive officer Charlie Cole, Tom Brittney as Lt. Watson, and a handful of others who help Hanks be all that he can be.

    There’s little need for more World War II movies in this day and age, but Greyhound is an example of how riveting they can still be over seven decades after the fighting ceased. And with Tom Hanks leading the way in every sense, you know you’re in good hands.

    ---

    Greyhound is playing exclusively on Apple TV+.

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    Movie Review

    Alexander Skarsgård commands the bold, offbeat drama Pillion

    Alex Bentley
    Feb 20, 2026 | 11:45 am
    Alexander Skarsgård and Harry Melling in Pillion
    Photo courtesy of A24
    Alexander Skarsgård and Harry Melling in Pillion.

    Describing the new movie Pillion is almost an act of futility. It contains a variety of seemingly disparate parts that coalesce into a whole to make it utterly fascinating. Few other recent films have been able to walk the line between filthy and wholesome in quite the way this one does, and that’s only because few other filmmakers would actually dare to try.

    It centers on Colin (Harry Melling), a meek man in his mid-thirties who still lives at home with his parents, Pete (Douglas Hodge) and Peggy (Lesley Sharp), while working a dead-end job giving out parking tickets. While performing in a barbershop quartet at his local pub, Colin catches the eye of biker Ray (Alexander Skarsgård), who summons him for a clandestine hook-up the following day (which just so happens to be Christmas Day).

    With barely a word exchanged between them, Ray establishes a dominance over Colin that quickly leads to them starting a relationship in which Colin does anything Ray asks. And that means more than just sex: Colin, whether desperate for any kind of affection or unlocking a side of himself he hadn’t known, readily agrees to cook, clean, shop, and basically do whatever else Ray wants him to do.

    Written and directed by first-time feature filmmaker Harry Lighton, the film is astonishing in the way it’s able to mine humor from Colin and Ray’s atypical bond. To call Ray “unfeeling” might not be totally accurate, but the way he treats Colin borders on cruel. However, the way Lighton structures the film, it’s easy to understand why someone like Colin would be willing to go along with the situation. It’s both hilarious and heartbreaking to see Colin debase himself in a variety of ways.

    On the flip side is Colin’s heartfelt arc with his parents. It’s established right away that Peggy, who is sick with cancer, is a bit too involved with Colin’s love life, with the opening scene featuring her setting him up on a blind date. But their easy acceptance of his queerness and desire to see him find love is as heartwarming as it gets. The juxtaposition between the wholesomeness of their family and Colin’s new life is also the source of a good amount of comedy.

    Lighton does not shy away from the sexual side of Colin and Ray’s relationship, and the scenes he depicts are as graphic as you are likely to see in an R-rated film. Some go up to and a little past what might be expected in a mainstream movie (including the use of a certain fake appendage). Other times they play out in a comical way to illustrate just how far Colin has progressed from the person he was when the film started.

    Skarsgård, who stole the show in the Charli XCX movie The Moment, is the attraction in more ways than one in this film. The part calls for someone who’s not only impossibly handsome, but also a person who can stop dissent with just a glance, and he lives up to both qualities equally well. Melling, best known for playing Neville Longbottom in the Harry Potter movies, also embodies his role perfectly. He plays Colin as weak enough to be run roughshod over by Ray, but not so hopeless as to not be worth rooting for.

    Pillion (which is the name of the secondary seat on a motorcycle on which Colin rides multiple times in the film) operates at a storytelling level that is difficult to achieve. Many people will not fully understand the film’s central relationship, but the way it is showcased by Lighton makes it compelling, gut-wrenching, and sexy.

    ---

    Pillion is now playing in theaters.

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