Hanks’ Krause is a potentially complex character, given we learn this is his very first command at an age when most of his peers are retiring. It’s as if the filmmakers realized they’re delivering a muddled effort and they’re doing everything they can to help us understand what’s transpiring. “The convoys were most vulnerable to U-Boats when beyond the range of air cover, in the middle of the Atlantic, in the area known as ‘The Black Pit.’ ” From time to time thereafter, graphics are employed to reflect communications between air escorts and ships, between ships, etc., and also to identify various ships and subs we see from a distance. “Convoys of ships carrying troops and supplies to Great Britain were crucial to the Allied war effort,” the tale begins, as the intrusive, anachronistic, Michael Bay-esque score starts pounding away at our sensibilities (and rarely lets up throughout the movie). (Not to mention some battle scenes are rendered through such a dark filter, it’ll give flashback nightmares to certain “Game of Thrones” fans.)Ī series of opening title cards sets the stage for this story, which is inspired by true-life events but is actually based on the 1955 novel “The Good Shepherd” by C.S. Unfortunately, despite the no-doubt honorable intentions of writer-star Hanks and director Aaron Schneider, “Greyhound” relies far too much on slick but obvious and overdone CGI and gets bogged down in the minutiae and jargon of naval wartime maneuverings at the expense of viewer accessibility and character development. Keeling, a Navy destroyer leading a convoy of 37 Allied ships across the ocean as part of the Battle of the Atlantic, which waged from 1939 to 1945 and was the longest military campaign of WWII. Spoiler alert: “Greyhound” never returns to the half-hearted romantic subplot, as we spend the remainder of the movie aboard the U.S.S.
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