The 15:17 to Paris

Film, Thrillers
2 out of 5 stars
2 out of 5 stars
(1user review)
The 15:17 to Paris

Director Clint Eastwood bobbles a true tale of heroism, stranding three men who never should have been asked to re-enact their own courageous moment.

By one cosmic yardstick, the three American tourists who foiled a terrorist attack on a 2015 Amsterdam-to-Paris train were in exactly the right place at the right time: They acted when they had to, wrestling an armed gunman to the floor and preventing untold carnage. Those same three Americans don’t act in ‘The 15:17 to Paris’ – they can’t act, because even though Spencer Stone, Alek Skarlato and Anthony Sadler have been cast as themselves, they’re not actors. They’re at best beefy twentysomethings with muscle memory. Dramatically inert and flatter than a buzz cut, the movie ends up diminishing their moment of heroism by turning it into a defiantly amateurish piece of junior-high-grade theatrics (the film asks the impossible of people who have already achieved greatness), as if to say: Reality doesn’t need to be gussied up. Alas, it does, and saying so doesn’t make you disrespectful.

Anything that could have been done to shift focus away from these bros – who come across as likeable but blank interlopers in their own story – should have been considered. Instead, the paint-by-numbers screenplay by Dorothy Blyskal (mainly a production assistant prior to this job) emphasizes their deficiencies. It leans heavily on cringe-inducing moments of obviousness, setting up the boyhood friends as detention-prone loners who prefer playing wargames in the woods. You get no less than two parent-teacher conferences in the first 20 minutes alone, both of which end in sassy you-don’t-know-my-son walkouts. (Jenna Fischer and Judy Greer, as the mothers, try to speed things along.) Shifting to the adult Stone, Skarlato and Sadler, the movie piles on an hour of vacation travelogue in Rome, Venice and Amsterdam, during which beers are quaffed, selfies are taken and European women are ogled (but never disrespected or even touched). The profanity-free squareness is close to excruciating: you won’t believe how boring it is partying with real-life heroes.

Say what you will about director Clint Eastwood’s onscreen rectitude as a gun-toting icon, he’s never been a safe filmmaker. Just as only Nixon could open China, only Eastwood could smuggle paralyzing doubts into the underrated ‘American Sniper’; his war films ‘Flags of Our Fathers’ and ‘Letters from Iwo Jima’ are remarkably critical. ‘The 15:17 to Paris’ won’t help his defenders. Perversely, you wait (and wait) for the train attack, hinted at in flurries of flash-forwards. It’s over in an instant: competently staged but coolly played. Eastwood makes the film feel like a rote assignment: an act of patriotic duty trying to pass as drama. Already we’ve heard several times, ominously, about the 'greater purpose' these guys are 'catapulting' toward (seriously, the script is that dull-witted). Even if it weren’t already set on a track, the movie has only one way forward: a straight line into mundanity.

By: Joshua Rothkopf


Release details

Release date:
Friday February 9 2018
94 mins

Cast and crew

Clint Eastwood
Dorothy Blyskal
Spencer Stone
Alek Skarlato
Anthony Sadler

Average User Rating

2 / 5

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2 people listening

For a film about the Amsterdam-Paris terrorist train attack, there is remarkably little time given to the terrorist, the attack or the train! Director, Clint Eastwood takes an hour to set the scene ; the three school friends do not go through school easily. They spend their time playing war in the woods with an assortment of toy guns. Spencer, the main hero and army-trained, just wants to 'save people'. None of the boys can act because they are not actors but, for reasons best known to the director, the heroic young men (boys all grown up),on the 15:17 to Paris, have been asked to play themselves. They meet up for a European holiday. They walk. They talk. Strangers come into their lives and suddenly disappear. The only moment that does work is the ceremony at which the then President François Hollande presents the now young men with the Legion d'honeur in recognition of their bravery thus saving many potential lives on the train. The terrorist is all trussed up with boy-scout knots, the parents are flown over and the young heroes arrive in convoy of big, black cars to receive their medals.Everyone is happy - apart from the audience!