Who was going to tell us? Faced with the Covid-19 pandemic, many studios have decided to delay the premiere or directly not release a large part of their proposals in theaters. Examples of the latter case are the unnecessary version with actors of Mulán (which Disney has decided to premiere directly on Disney +) and the film at hand, Greyhound (which has gone straight to its premiere on Apple TV +). Necessity forces and given the impossibility for the public to flock to movie theaters, distributors have been forced to find new ways of financing. In the end, digital platforms are going to be the lifeline of the big studios. Seeing is believing.

To the mess. Greyhound is one of those entertaining war movies with submarines and ships. You know: periscope up, periscope down, sonar, all port, immersion, depth charges, etc. Nothing new under the sonar. Greyhound It introduces us to the middle of World War II and the history of the convoys that brought supplies to Great Britain from the other side of the Atlantic at the mercy of German submarines. Once again the Yankees present themselves as the heroes of freedom. It is undeniable that Greyhound is a fun pastime that is passed in a heartbeat and reminds us that in the 40s of the last century things were really complicated. Greyhound’s greatest appeal lies in a Tom Hanks who, once again, embroiders the character of a normal person in a tremendous trouble much to his regret. That anonymous hero who reminds us of other characters of his as in Save Private Ryan Castaway, Sully or Captain Phillips. Hanks is typecast but complies and is the one who supports the film on his shoulders, ensuring that the film does not sink in the few moments of calm. To all this we have to add a frenetic rhythm to obtain good entertainment. Yes, Greyhound does not leave any residue after viewing. It looks as fast as you forget. I think that his lack of depth in the viewer is due to the fact that he does not spend even 5 seconds presenting the secondary characters. The script tiptoes over them all without even introducing them minimally. You only waste a little time on the figure of the waiter to score a point now that the quotas of colored characters is fashionable and join the bandwagon against racism. What’s more, in the film only one woman appears very briefly, Elisabeth shue she plays the protagonist’s fiancee in an unnecessary scene that contributes little.

Of course Aaron Schbeider he is far more adept in naval battle scenes than in character presentation. I honestly think Schneider lacks personality, this story in the hands of Christopher Nolan could have been the bomb. By the way, digital effects sing a little, perhaps on a movie screen it would not have been so noticeable but at home …

To finish, there was a detail that I did not like too much, the Nazis had to appear as perfidious murderous murderers and they have not thought of anything else than to make them sneak into the station of the allies in a psychopathic plan and howling. The thing works but it takes away a lot of credibility.

I said, an entertaining war movie, without more.