![]() He plays it out in a natural and convincing way, whether he is over- confident or in shock. What helps it in these moments (and throughout) is that Hanks is great. It still worked, don't get me wrong, but at the same time it had a generic feel to this aspect that I could have done without – particularly since earlier it seemed smarter than that. ![]() I'm not sure if the film was trying to make a comment by playing it quite so "Hollywood" at the end, but to me it did feel a bit odd in the film to have the music, camera-work and dialogue of a Michael Bay movie occurring in a situation where they were facing down a couple of guys with more feet than shoes. The one thing I was surprised that it came on strong about was the military response. In the tension and in the lulls, the film does well to keep things evenly balanced so that you don't completely turn against the Somalis as if they were generic baddies, but at the same time it never pushes anything down your throat about their situation. There are moments where it doesn't really keep that up – some of them it needs, but others it doesn't. It does this by breaking the story down pretty well into such contained but yet connected moments so that it is effective at the time and also has a flow to it. How much it matters if you already do or not I cannot say, but for me the film was not really about the resolution until near the end because for most of the time it is about the moment and what is going on there and then. ![]() ![]() Although it is basically a true story, I must be one of the few who did not know the ending already, since I had never heard this specific story. ![]()
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