Review: Saving Private Ryan (dir. by Steven Spielberg)


“Someday we might look back on this and decide that Saving Private Ryan was the one decent thing we were able to pull out of this whole godawful, shitty mess.” — Sergeant Horvath

Saving Private Ryan stands as a landmark achievement in war cinema, intricately weaving immersive battle scenes, rich character dynamics, and profound moral themes into a nearly three-hour exploration of World War II’s human cost. One of its most remarkable features is the opening Omaha Beach landing sequence, a meticulously crafted, over 24-minute depiction of warfare’s brutal reality. Spielberg deploys a cinema verité style with handheld cameras capturing disorientation and chaos through the soldiers’ eyes. The sound design envelops the viewer in a sensory onslaught—gunfire, shouting, explosions—creating a visceral experience that immerses audiences directly in the terror and confusion of D-Day.

The filming process drew heavily on historical accuracy, with the production shot on the coast of County Wexford, Ireland, employing amputee actors and practical effects over computer graphics to simulate violent injuries and battlefield horrors. Muted tones evoke wartime photographs, and rapid, shaky editing conveys the disorganized, frantic environment soldiers endured. Consulting WWII veterans and historians, Spielberg created a sequence that reshaped cinematic portrayals of war, influencing how future films would approach the genre’s raw immediacy and emotional weight.

The film’s narrative follows a squad led by Captain Miller on a mission to locate and bring home Private James Ryan, whose three brothers have been killed in combat. The mission is steeped in the real-life tragedy of the five Sullivan brothers who died together aboard the USS Juneau in the Pacific, prompting military policies to prevent similar familial devastation. This historical context frames the story’s ethical heart: risking several men’s lives to save one, raising enduring questions about the value of individual sacrifice within the broader war.

In Saving Private Ryan, sacrifice is portrayed ambiguously—not as the sacrifice of a single hero but as the collective cost borne by the men tasked with rescuing one individual under perilous conditions. As the squad journeys through the war-torn French countryside, the deaths, injuries, and tensions they face underscore war’s randomness and the difficulty of weighing one life against many. The narrative refuses to romanticize or simplify, instead confronting the audience with the tragic truth that countless soldiers lose their lives without recognition or purpose, while some survive against staggering odds.

Duty and camaraderie thread throughout the film, portrayed through the soldiers’ evolving relationships and personal struggles. Each grapples with loyalty not only to their mission but to their fellow men and their own moral codes.

Integral to the film’s power is Tom Hanks’s layered performance as Captain John Miller. Hanks breathes life and emotional depth into Miller, portraying him as a man shaped by civilian life—revealed poignantly when he discloses his pre-war profession as a schoolteacher—now transformed by the relentless demands of war. He embodies an officer who is both composed and vulnerable, carrying the heavy burden of leadership with quiet dignity. Hanks’s portrayal reveals the internal struggles beneath Miller’s stoic exterior: moments of doubt, moral conflict, and fatigue subtly expressed through a trembling hand or a weary gaze. This humanity makes Miller relatable, as a man trying to maintain order and purpose amid chaos.

Hanks skillfully balances Miller’s authoritative presence with warmth and empathy, particularly evident in his paternal interactions with younger soldiers, reinforcing Miller’s role as both a leader and protector. His nuanced acting delivers the complexity of a man constantly negotiating duty and compassion. In scenes of high tension or moral quandaries, Hanks conveys the weight of command while allowing glimpses into Miller’s psychological strain, deepening the film’s emotional resonance.

Following Hanks’s Miller, a standout amongst the supporting cast is Tom Sizemore’s portrayal of Technical Sergeant Mike Horvath, Miller’s steady second-in-command. Sizemore embodies the pragmatic, battle-hardened soldier whose loyalty and experience provide emotional grounding for the squad. Sizemore portrays Horvath’s weariness and quiet commitment, adding layers of realism that deepen the exploration of how war reshapes individuals. The chemistry and shared history between Miller and Horvath are palpable, illustrating the bonds that sustain soldiers through hardship and lending emotional weight to the narrative.

The film wrestles with intense moral ambiguity throughout. The mission’s premise—to risk many lives to save one—compels both characters and viewers to confront complex questions about justice, value, and the cost of war. Scenes presenting difficult choices, such as the decision to spare or execute prisoners, dramatize these ethical dilemmas and highlight the emotional burdens borne by soldiers.

Technically, the film excels, with Janusz Kaminski’s dynamic cinematography capturing both the chaos of battle and intimate moments with evocative clarity. The immersive sound design reinforces the brutal reality, stripping warfare of glamor and confronting audiences with its daunting human costs.

Despite the overwhelming destruction and loss, Saving Private Ryan offers moments of humanity and hope. The rescue mission serves as a fragile symbol of compassion in the midst of devastation, while the film’s closing reflections on memory and legacy emphasize the lasting significance of sacrifice and survival.

Saving Private Ryan stands as a monumental achievement in the war genre, combining visceral combat realism, compelling characters, and moral complexity. Through Hanks’s deeply human Captain Miller and the nuanced supporting performances, especially Sizemore’s grounded Horvath, the film explores themes of sacrifice, duty, and brotherhood with unflinching honesty. Its enduring legacy lies in its unvarnished yet empathetic portrayal of war’s cost and the profound sacrifices made by those who lived it.

Why I Love Toy Story of Terror!


In Toy Story of Terror!, Bonnie (voice of Emily Hahn) is going on a Halloween road trip to visit her grandmother. When the car gets a flat, Bonnie and her mother have to spend the night in a creepy hotel. Bonnie has brought aome of her toys with her –Sheriff Woody (Tom Hanks), Buzz Lightyear (Tim Allen), Jessie (Joan Cusack), Mr. Potato Head (Don Rickles), Rex (Wallace Shawn), Trixie (Kristen Schaal), and Mr. Pricklepants (Timothy Dalton). Mr. Pricklepants says that the motel feels like the setting of a horror story and he’s right! Mr. Potato Head vanishes, leaving behind only his arm. While the toys search for him, they are captured one-by-one by an iguana. The owner of hotel (Stephen Tobolowsky) is stealing his guests’ toys and selling them online.

Toy Story of Terror! introduces some other toys, all of whom have been captured and imprisoned in a glass case. Combat Carl (Carl Weathers) was my favorite but I also have a soft spot for Old Timer (Christian Romano), the alarm clock who spoke like an old man. I like the iguana too. He didn’t know he was being bad.

What makes Toy Story of Terror! so special is that Jessie has to conquer her fear of being in a box to rescue Woody and the other toys. Everyone is scared of something, even brave and confident Jessie. Like Jessie, I get claustrophobic. I’m embarrassed to admit it but I do like to a keep a nightlight on when I’m sleeping. I don’t like the idea of waking up and not being able to see what’s in front of me. Toy Story of Terror! isn’t just about toys. It’s also about how it’s okay to scared because, deep down, we all have the strength to conquer our fears. Jessie proves it when she hides in a box so she can save Woody. Maybe I’ll even turn off the nightlight tonight. Nah, I don’t think so.

Lisa and I have watched Toy Story of Terror! every year since it first aired in 2013. Every time I see it, it makes me smile and it makes me feel like there’s nothing that I can’t do. I don’t know if they’re going to broadcast the special on TV this year. There really haven’t been any special Halloween shows yet, though there’s still another week to go. If they don’t air, it’ll be a shame. It is on Disney+, though. And It’s The Great Pumpkin, Charlie Brown is on Apple TV! Don’t forget to watch them this October!

Guilty Horror Pleasure #87: The ‘Burbs (dir by Joe Dante)


1989’s The ‘Burbs takes place in …. well, it’s right there in the title.

Welcome to the suburbs!  It’s place with big houses, green lawns, and neighbors who often don’t have much to do other than watch each other and gossip.  Ray Peterson (Tom Hanks) lives with his wife, Carol (Carrie Fisher), and is friends with Art Weingartner (Rick Ducommun) and Mark Rumsfield (Bruce Dern).  Ricky Butler (Corey Feldman) is the local teenager.  It’s a nice neighborhood …. at least, until the Klopeks move in.

The Klopeks are viewed with suspicion from the minute they show up.  They’re from a different country, they always seem to be burying something in their backyard, and Dr. Werner Klopek (Henry Gibson) is oddly stand-offish.  When Walter Seznick (Gale Gordon) disappears and the the Klopeks are seen around Walter’s house and with Walter’s dog, Ray and his friends start to suspect that their new neighbors might be ritualistic murderers!

Oh, how I love The ‘Burbs.  The film’s portrait of the suburbs as being a hotbed of paranoia may be a familiar one but it doesn’t matter when you’ve got actors like Tom Hanks and Bruce Dern throwing themselves into their roles.  As always, Hanks is the glue that holds the film and its disparate parts together, giving a likable performance as a man who goes from being the voice of reason to being convinced that his neighbors are cannibals.  Bruce Dern gleefully sends up his own image as a paranoid Vietnam vet but there’s also a sweetness to Dern’s performance that really makes it stand out.  Dern’s character might be a little crazy but he does truly care about his neighbors.

Just as he did with Piranha and The Howling, Dante balances humor with suspense.  He does such a good job of telling the story and getting good performances from his cast, that even the film’s big twist works far better than one might expect.  It’s an 80s film so, of course, a few things explode towards the end of it.  The film’s character-based humor is replaced with some broader jokes but no matter.  The Burbs is an entertaining trip to the heart of suburban paranoia.

As the saying goes, just because you’re paranoid, that doesn’t mean that they aren’t out to get you.

Previous Guilty Pleasures

  1. Half-Baked
  2. Save The Last Dance
  3. Every Rose Has Its Thorns
  4. The Jeremy Kyle Show
  5. Invasion USA
  6. The Golden Child
  7. Final Destination 2
  8. Paparazzi
  9. The Principal
  10. The Substitute
  11. Terror In The Family
  12. Pandorum
  13. Lambada
  14. Fear
  15. Cocktail
  16. Keep Off The Grass
  17. Girls, Girls, Girls
  18. Class
  19. Tart
  20. King Kong vs. Godzilla
  21. Hawk the Slayer
  22. Battle Beyond the Stars
  23. Meridian
  24. Walk of Shame
  25. From Justin To Kelly
  26. Project Greenlight
  27. Sex Decoy: Love Stings
  28. Swimfan
  29. On the Line
  30. Wolfen
  31. Hail Caesar!
  32. It’s So Cold In The D
  33. In the Mix
  34. Healed By Grace
  35. Valley of the Dolls
  36. The Legend of Billie Jean
  37. Death Wish
  38. Shipping Wars
  39. Ghost Whisperer
  40. Parking Wars
  41. The Dead Are After Me
  42. Harper’s Island
  43. The Resurrection of Gavin Stone
  44. Paranormal State
  45. Utopia
  46. Bar Rescue
  47. The Powers of Matthew Star
  48. Spiker
  49. Heavenly Bodies
  50. Maid in Manhattan
  51. Rage and Honor
  52. Saved By The Bell 3. 21 “No Hope With Dope”
  53. Happy Gilmore
  54. Solarbabies
  55. The Dawn of Correction
  56. Once You Understand
  57. The Voyeurs 
  58. Robot Jox
  59. Teen Wolf
  60. The Running Man
  61. Double Dragon
  62. Backtrack
  63. Julie and Jack
  64. Karate Warrior
  65. Invaders From Mars
  66. Cloverfield
  67. Aerobicide 
  68. Blood Harvest
  69. Shocking Dark
  70. Face The Truth
  71. Submerged
  72. The Canyons
  73. Days of Thunder
  74. Van Helsing
  75. The Night Comes for Us
  76. Code of Silence
  77. Captain Ron
  78. Armageddon
  79. Kate’s Secret
  80. Point Break
  81. The Replacements
  82. The Shadow
  83. Meteor
  84. Last Action Hero
  85. Attack of the Killer Tomatoes
  86. The Horror At 37,000 Feet

October Hacks: He Knows You’re Alone (dir by Armand Mastroianni)


198o’s He Knows You’re Alone opens with a young couple making out in a car.  (The guy, who is named Don, is played by Russell Todd, the devastatingly handsome actor who played the first victim in Friday the 13th Part II.)  A report comes over the radio.  There’s a killer on the loose.  The girl is concerned.  The guy is cocky.  It’s hard not to notice that both of them look a little bit too old to be playing high school students.  Suddenly the killer attacks and….

We sitting in a movie theater, watching as two friends, Ruthie (Robin Lamont) and Marie (Robin Tilgham), watch the film.  Marie covers her eyes while Ruthie announces, excitedly, that the couple is going to die.  Marie, uncomfortable with the onscreen violence, goes to the washroom.  She splashes water on her face.  She catches her breath.  When she returns to the theater, Ruthie is excited because the girl on screen is about get slashed by her stalker.  Marie hides her eyes.  Just as the girl onscreen screams, the man sitting behind Marie drives a knife into the back of her neck, killing her.

It’s a brilliantly edited sequence, one that comments on how audiences love depictions of violence while fearing it in real life.  It’s also a genuinely scary sequence, especially if you’re someone who frequently goes to the movies.  (Would the sequence have the same impact on someone who has grown up almost exclusively in the streaming age?  Probably not.)  It’s a sequence that shows a hint of a self-awareness that was lacking in many 80s slasher films.  It’s also so good that the rest of the film struggles to live up to it.

The killer in He Knows You’re Alone is Ray Carlton (played with wild-eyed intensity by Tom Rolfing), a serial killer who preys on women who are engage to be married.  While Detective Len Gamble (Lewis Arlt) tries to track down Ray and get revenge for the murder of his fiancée, Ray stalks Amy Jenson (Caitlin O’Heaney) and her bridesmaids, Nancy (Elizabeth Kemp) and Joyce (Patsy Pease).  (Why Ray focuses on the bridesmaids before going after Amy is never really explained.)

We also meet a few red herrings, all of whom would probably be suspects if the film hadn’t already shown us that Ray is the murderer.  Joyce is having an affair with a married professor named Carl (James Rebhorn).  While we don’t really get to know Amy’s fiancé, we do spend a good deal of time with her ex-boyfriend, hyperactive morgue attendant Marvin (Don Scardino).  We also meet Nancy’s date for the weekend, a psych major named Elliott (Tom Hanks).  This was Hanks’s film debut and, even though he doesn’t get much screentime, he’s  so instantly likable that it’s easy to understand why he became a star.

As I mentioned earlier, the rest of He Knows You’re Alone struggles to live up to its opening moments.  That doesn’t meant that He Knows You’re Alone is a bad movie.  Though there are a few scenes that comes across as being filler, it’s still an effective slasher film.  The fact that the killer is just some anonymous loser as opposed to a Freddy Krueger-style quip machine makes him all the more frightening.  Ray Carlton is a killer who you can actually imagine siting behind you, preparing to strike.  The film also makes good use of its chilly Long Island locations.  There’s a grittiness to the film that leaves the viewer feeling as if the world itself is decaying along with Ray’s victims.

And then there’s Tom Hanks, a ray of cheerfulness amidst the drabness of the Mid-Atlantic hellhole that is New York.  At one point, his psych student talks about how scary stories and movies can help people deal with the horrors of the real world, another hint that this film was more self-aware than the usual slasher flick.  Originally, Hanks’s character was meant to be one of Ray’s victims but director Amand Mastroianni (who later went on to direct several episodes of Friday the 13th: The Series) said that Hanks proved to be so likable in the role that no one could stand the thought of killing him off.

He Knows You’re Alone is an effective little slasher flick.  Watch it with the lights on.  You never know who might be behind you.

 

Horror On The Lens: Mazes and Monsters (dir by Steven Hilliard Stern)


Hi there and welcome to October!  This is our favorite time of the year here at the Shattered Lens because October is our annual horrorthon!  For the past several years (seriously, we’ve been doing this for a while), we have celebrated every October by reviewing and showing some of our favorite horror movies, shows, books, and music.  That’s a tradition that I’m looking forward to helping to continue this year!

Let’s get things started with 1982’s Mazes and Monsters!

Based on a best-seller by Rona Jaffe, Mazes and Monsters tell the story of some college students who enjoy playing a game called Mazes and Monsters.  Now, I realize that Mazes and Monsters may sound a lot like Dungeons and Dragons but they are actually two separate games.  One game takes place in a dungeon.  The other takes place in maze, got it?

When the players decide to play the game in some nearby caves, it causes the newest member of the group (Tom Hanks — yes, Tom Hanks) to snap and become his character.  Convinced that he’s living in a world full of monsters and wizard, Hanks runs away to New York.  How does that go?  During a moment of clarity, Hanks calls his friends and wails, “There’s blood on my knife!”

It’s all fairly silly.  There was a moral panic going on about role playing games when this film was made and this film definitely leans into the panic.  But, in its own over-the-top way, it works.  If you’ve ever wanted to see Tom Hanks battle a big green lizard, this is the film for you.  And I defy anyone not to tear up a little during the final scene!

From 1982, here is Mazes and Monsters!  Happy Horrorthon!

Scenes That I Love: James Lovell Dreams Of The Moon In Apollo 13


Apollo 13 (1995, dir by Ron Howard, DP: Dean Cundey)

Today we have an absolutely beautiful scene from 1995’s Apollo 13.  In this scene, astronaut Jim Lovell (Tom Hanks) takes a look at the moon and, for a minute, thinks about what could have been, if only a malfunction hadn’t scuttled Apollo 13’s moon landing and left Lovell and his two crewmates apparently stranded in space.  Though Lovell may dream of walking on the moon, he knows it won’t happen and that his only concern now is getting both himself and his crew back home.

Some critics have a tendency to dismiss Ron Howard as just being a director who makes middlebrow films but this scene shows him to be a director who instinctively understands not only what it’s like to dream but also what it’s like when reality intrudes on those dreams.  This scene features both Howard and Tom Hanks at their best.

Nothing In Common (1986, directed by Garry Marshall)


Tom Hanks plays David Basner (Tom Hanks), an advertising executive whose immature lifestyle gives him insight into what sells but has also left him totally unprepared to deal with the fallout when his mother (Eva Marie Saint) leaves his father, Max (Jackie Gleason).  David, who is struggling to come up with the perfect commercial for a demanding client (Hector Elizondo), has to come to terms with both his father’s bad health and his history of infidelity.

This isn’t my favorite Tom Hanks movie.  It comes from that awkward period when Hanks was trying to make the transition from comedy to drama and its attempt to mix the two genres is not always successful.  The scenes of Hanks at the ad agency are often so cartoonish that they don’t seem like they belong in a movie where Jackie Gleason loses a foot to diabetes and realizes that he spent his entire marriage emotionally abusing his wife.  The movie, though, is worth watching for the teaming of Hanks and Gleason, two comedic actors who eventually proved themselves to equally as skilled at playing it serious.  Gleason, especially, gives a strong performance.  This was his final film and Garry Marshall convinced him to take it by asking, “Do you really want to go out on Smokey and the Bandit 3?”  Gleason would die a little over a year after the release of Nothing In Common and this film, even if it wasn’t perfect, gave the world a chance to see what a good actor he really was.

This film is often cited as the the movie that started Hanks on the way to becoming a dramatic actor.  Like Punchline, Nothing In Common played a role in Hanks becoming more than just a comedian but  I think Big was ultimately the better showcase for Hanks’s ability to mix pathos with laughs.  Nothing In Common was directed by Garry Marshall and, as was usually the case with Marshall, he often doesn’t trust the audience to figure things out for themselves.  He goes overboard trying to force an emotional response instead of just trusting the material.  Tom Hanks still does a good enough job in Nothing In Common.  Hanks is as likable as always and you can see the dramatic actor emerging in Hanks’s performance even if Hanks still wasn’t totally comfortable with it.

Nothing In Common is flawed but it was definitely a better swan song for Jackie Gleason than Smokey and the Bandit 3.

That Thing You Do! (1996, directed by Tom Hanks)


That Thing You Do! is the story of a one-hit wonder.

In 1964, an aspiring Jazz drummer named Guy (Tom Everett Scott) is a last minute addition to the a local band called the Oneders.  (It’s meant to sound like Wonders but almost everyone mispronounces it as O-Needers.)  The band’s egotistical leader, James (Jonathon Schaech) has written a slow ballad called That Thing You Do! but when Guy’s drumming causes the band to perform the song at a faster tempo, they end up with a local hit on their hands.  That local hit becomes a national hit when The Oneders are signed by Play-Tone Records.  First, Mr. White (Tom Hanks), their new manager, officially changes the name to The Wonders.  Secondly, he makes sure that every teen in America is dancing to That Thing You Do!  Third, he tells Guy to always wear sunglasses.  Fourth, he tells James that he will record and perform what Play-Tone tells him to.  Guitarist Lenny (Steven Zahn) and the unnamed Bass Player (Ethan Embry) are happy to be along for the ride but James chafes at his lack of artistic freedom.  Guy, meanwhile, falls for James’s girlfriend (Liv Tyler, at her loveliest) and dreams of meeting his idol, jazzman Del Paxton (Bill Cobbs).

That Thing You Do! was Tom Hanks’s directorial debut and, with its careful recreation of a bygone era and its collection of authentic sounding early 60s rock on the soundtrack, it was obviously a labor of love.  Considering the number of times that the song is played in the movie, it helps that it is a very good song.  That Thing You Do! is a catchy tune, one that you can’t help but tap your feet to.  At the same time, it also sounds like a one hit wonder.  It’s good but not so great as to make you expect much else from The Wonders.

Not surprisingly, Tom Hanks gets great performances from the entire ensemble cast.  Johnathon Schaech and Tom Everett Scott have never been better.  Liv Tyler is lovely and vulnerable as James’s unappreciated girlfriend.  Familiar faces like Peter Scolari, Kevin Pollak, Chris Isaak, and Clint Howard make welcome appearances.  Hanks himself is surprisingly intimidating as Mr. White.  When he says that the band will cover something the Play-Tone catalogue, it’s obvious that he’s not making a request.

The film is a tribute to being young and to loving music bit it’s also a study in the disillusionment of discovering that everything is ultimately a business.  James is frequently an arrogant jerk and he treats his girlfriend terribly but it’s hard not to sympathize with him when he says that he wants to do more than just cover songs from the Play-Tone catalogue.  To James and Guy, the Wonders are about self-expression and their love of music.  To Mr. White, the Wonders are just another band that came up with one catchy tune and who probably aren’t ever going to be heard from again.   That Thing You Do! pays tribute to all of the one-hit wonders out there, the bands who you forget about until you just happen to hear that one song on the radio or in a movie and suddenly, all the memories come flooding back.

 

Film Review: Cast Away (dir by Robert Zemeckis)


“WILSON!”

Seriously, I’m usually pretty well-behaved when I watch a movie but every time I see the 2000 film Cast Away, I find myself thinking, “Protect Wilson!  You must protect Wilson!”  And then, every time, I feel the sting of tears in my eyes as Wilson, with that red-face and that understanding attitude, goes floating away.

Wilson is a volleyball.  When a FedEx executive named Chuck Noland (played by Tom Hanks) finds himself stranded on a desert island, Wilson becomes his only companion.  A stain from Chuck’s bloody palm creates something that resembles a face on Wilson’s rubber surface and Chuck spends a lot of time talking to Wilson.  It’s how Chuck maintains his sanity, even as he loses weight, sheds most of his clothes, and grows a beard.

Chuck learns how to make fire.  He learns how to catch fish.  He is able to survive due to the supplies that he gathers from the FedEx packages that were being carried on the plane that crashed into the island.  But Chuck never stops dreaming of returning home to his girlfriend (Helen Hunt).  Eventually, Chuck finds the courage to try to make the journey back to civilization.  He brings Wilson with him but ultimately, this is something that Chuck is going to have to do on his own.  Of course, Chuck has failed to consider that he’s been gone for years.  He is presumed dead.  On the Island, time seemed like it was frozen.  For the rest of the world, life has continued.

Cast Away is a film that a lot of people, especially online film commentators, tend to criticize.  The complaint is usually that the film is essentially a commercial for FedEx, that it’s not believable that Tom Hanks could survive on that island for as long as he did, and that the film itself has a weak ending.  I’ll concede that the film does make FedEx look like the nicest corporation on Earth.  (FedEx’s CEO appears as himself, which should tell you something about how the company is presented.)  And I will admit that the film’s time-advancing jump cut, which abruptly takes Hanks from being clean-shaven and husky to being thin and bearded, does leave a lot of unanswered questions.  But I will always defend the film’s ending.  The film ends on a note of ambiguity but how else could it have ended?  Everyone thought Chuck Noland was dead.  His girlfriend had every right to get on with her life and, in fact, it would have been psychologically unhealthy for her if she hadn’t.  As for that final shot, it’s an acknowledgment that Chuck doesn’t know what lies ahead of him in the future.  All he knows is that he life isn’t over yet.  It’s a melancholy ending.  It’s a frustrating ending.  But it’s also the only way the film could have ended and therefore, it’s a perfect ending.

Cast Away is a film that I will always defend and it’s also a film that really only could have worked with Tom Hanks in the lead role.  He plays Chuck as being the ultimate everyman, an affable guy who was just trying to do his job and whose survival of the initial plane crash was largely due to luck.  Hanks is one of those actors who is instantly sympathetic and Cast Away uses his screen persona to good effect.  You want him to survive because he’s Tom Hanks.  He may be playing a character named Chuck Noland but ultimately, he’s Tom Hanks.  He survived being trapped in space.  Surely, he can survive being stranded on an island.  The majority of the film is just Hanks talking to himself.  This would have brought out the worst in so many actors but Tom Hanks makes it work.  And yes, he’ll bring tears to your eyes as he watches Wilson float away.  That’s the power of a good actor.

As for Wilson, I like to think that he washed up in Pensecola.  Recently, I played a little volleyball on a beautiful Florida beach.  Was that you, Wilson?