“Sully”: Meddling in the Miracle on the Hudson


“Look, I’ve tried to cooperate patiently with this inquiry, but for the last time, I don’t know anything about this ‘David Pumpkins’ fella.”

Director Clint Eastwood’s new drama Sully takes us back to a time when every so often the national media had reasons to write headlines about good things that happened, even if meanwhile behind the scenes everything later fell apart, but the follow-up headlines were such dull sequels to the original inspiring pieces that they were relegated to the back section of the newspaper after the obituaries and sharing a page with The Family Circus, which no one reads and so everyone would assume that was that And They All Lived Happily Ever After. It’s also one of those early-bird Oscar hopefuls that the major studios release in autumn so they can be rushed to convenient home video in time for AMPAS voters to catch them at their leisure at home, rather than being expected or remotely willing to visit their local theater twenty or thirty times over the course of the voting season so they can get honestly informed about their choices. Then again, should Oscar voters be any more informed than those of us who vote in every political election? Are we hypocrites for wishing Hollywood always aimed for high standards of integrity than we do when it comes to naming the winners in their own history books? I like to think if Sully himself were an actor, he’d be disgusted about the whole process and deliver a great speech to shame them all into being more scrupulous film fans, and then maybe go on to run for President, because you know he’d do it sincerely and not as a promotional precursor to his forthcoming “SullyTV” project. Sully’s noble like that, but good luck getting him to admit it.

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