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 As
the saying goes, you can’t win ‘em all, but Steven Spielberg has
come pretty close.
Talk about
an impressive resume, not only is he the man behind some of the
greatest movies of all time (“Jaws,” “Raiders of the Lost Ark,”
“E.T. The Extra-terrestrial”), but he’s also a three-time Oscar-winner
for his more serious, personal work (“Schindler’s List,” “Saving
Private Ryan”). And though he could easily rest on his laurels,
he continues to challenge himself to this very day, even if the
results are a little off the mark (witness the far-out “A.I. Artificial
Intelligence”).
But even
the most successful filmmaker in movie history is entitled to
a few turkeys every now and then, and after scoring back-to-back
hits with “Minority Report” and “Catch Me if You Can,” Spielberg
was about due. Not only does his latest collaboration with Tom
Hanks qualify as a major disappointment, but it just may rank
alongside “1941” and “Hook” as one of the worst films of his career.
Clumsy, sappy and far-fetched in the extreme, it’s safe to say
that “The Terminal” is terrible.
Viktor Navorski
(Tom Hanks) is a man without a country. Within moments of touching
down at New York’s Kennedy Airport, he is horrified to discover
that a political coup in his native homeland has rendered his
passport invalid. When an overzealous Homeland Security officer
(Stanley Tucci) informs Viktor that he can neither return home,
nor can he leave the airport to set foot on American soil, he
has no choice but to camp out in the international terminal. Over
the next few months, Viktor bonds with several airport employees,
but it’s clear that he’s just passing time until he can do what
he came to America to do. The question is, how long will he have
to wait?
Despite Spielberg’s
best efforts to take flight with a modern day fairy tale, “The
Terminal” stays grounded with false sincerity and blatant contrivances.
I honestly can’t think of a more unpleasant place to hang out
than an airport terminal (especially after 9/11), but the one
that Spielberg has fabricated here looks more like Disneyland
by comparison. As Viktor slips and slides his way through his
new home, he uses the tools at hand to make the best of the situation
(much like Hanks’ character did in “Cast Away”). In addition,
he lands an under-the-table job as a skilled construction worker,
he becomes something of a local hero to the other airport employees,
and he even plays cupid to a shy food services worker (Diego Luna)
and a beautiful customs officer (Zoe Saldana). It’s all very sweet
to be sure, but I didn’t buy any of it for a New York minute.
If “The Terminal”
has one saving grace, it’s the presence of two-time Oscar winner
Tom Hanks. Though the film is earnest and sugarcoated to the point
where it will aggravate even the healthiest sweet tooth, Hanks
brings so much likable charm to his role that you can’t help but
stay the course. His faux accent may be jarring at first, but
it’s amazing how fast you get used to it. And let’s face it, who
better to play the nicest guy in an airport terminal than the
nicest guy in Hollywood?
The rest
of the cast doesn’t fare so well, starting with a seriously miscast
Catherine Zeta-Jones. Despite winning an Oscar for her scene-stealing
performance in “Chicago,” Zeta-Jones just doesn’t project enough
warmth to be convincing as the klutzy, ditzy flight attendant
who falls for Hanks (not to mention the fact that it’s a relatively
small role). Stanley Tucci certainly gives it his all as the film’s
“baddie” -- the airport security official who keeps close tabs
on Hanks. He even seems to be channeling Hanks’ similarly focused
performance from “Catch Me if You Can”, but in this day and age,
it doesn’t make sense why a man in his position would be so obsessed
with Hanks when there are far more important matters to deal with.
For a filmmaker
who effortlessly balances his time between special effects-laden
blockbusters, important historical films and easygoing, lighter
fare, I suspect that “The Terminal” will amount to a layover for
Spielberg before he takes off with his next big project. That
will most likely be a drama based on the tragic events of the
1972 Olympic Games in Munich (so much for “Indiana Jones 4”),
which is bound to restore some prestigious and artistic credibility
to Spielberg’s profile.
But even
if it doesn’t, that’s okay. Like the saying goes, you can’t win
‘em all.
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