Bridge of spies is not your typical movie, it almost seems like it would be boring, except it isn't. This film is like a tree that you drive by on your way to work. Nothing special, quite ordinary; and then one day you see it from a different angle, and the way the dew glistening off of its leaves catches the sunlight, just takes your breath away.

As I mentioned before, bridge of spies is different, it doesn't have a particularly memorable score, or poetic dialogue, every character is portrayed as a "regular guy/gal". The credit must go to the Coen brothers here. The actors lines, particularly the exchanges between Hanks' and Rylance's characters are stirring in their simplicity. The story unfolds similarly, everything sort of just happens, and at the end, it all fits together perfectly.

Nobody knows, what makes Spielberg so great, is it his groundbreaking camera work? or perhaps his implementation of cutting edge visual effects? In my humble opinion it is his enigmatic ability to take what would likely be dull and uninteresting in the hands of any other director, and turn it into a thing of wonder. This movie plays out naturally, with moments of subtle heroism, and true human emotion, it is so very downplayed, that one simply cannot pull their eyes away. Bridge of Spies is truly an Organic Wonder.

Following "War Horse" and "Lincoln," "Bridge of Spies" rounds out Steven Spielberg's trilogy of histories in the 2010s, each film earning a Best Picture nomination for being a superb piece of craft — and having Spielberg's name attached.

None of these are bad, but they are extremely traditional films evoking the prestige dramas of the '90s and not necessarily offering anything new. As such, "Bridge of Spies" doesn't shed new light on Cold War history, but it does tell a small story with of inspirational characters with a lot of heart.

Tom Hanks stars as James Donovan, an insurance attorney asked to represent a recently detained Soviet spy named Rudolf Abel (Mark Rylance). A proud Constitutionalist of sorts, Donovan decides it's his honor and duty to give one of America's most hated men his right to a defense. Then, when a U.S. pilot is captured in Soviet territory, the CIA recruits Donovan to negotiate a swap.

"Bridge of Spies" echoes "Lincoln" in its portrayal of a morally tenacious man who stood firm in the face of opposition. Putting an actor as likable Hanks in the role of someone as upstanding and charming as Donovan is almost unfair. The script, treated by Mark Charman and also the Coen brothers, builds clever scenes for Hanks to navigate through with total ease. The story doesn't push or challenge the veteran, but it does frame everything that's happening with the appropriate weight, enough so that we can connect with everything Donovan is going through and respect the decisions he makes and Hanks helps communicate those stakes. The Cold War was an ugly time; it might seem that what Donovan did and how he approached his responsibilities was a moral no-brainer, but it was actually quite complicated and extremely unpopular.

Rylance as well is a an excellent stroke of casting genius. More known for his stage work, the veteran creates a portrait of a man so self-assured it's frightening. It's the kind of nuanced supporting role that is easy to overlook when most award-winning supporting turns are flashy scene-stealers.

Spielberg and longtime director of photography Janusz Kaminski give "Bridge of Spies" such richness. This is a film driven by plot and acting, but the picture is pristine. In particular, the way they capture East Berlin during the negotiations scenes is feels haunting in a way few films taking place in that similar time and place have. Also, the visual symbolism of reflections and different perspectives is something Spielberg plays with subtly but enough so to put some artistic flourishes on his film. Most importantly, the climactic bridge sequence works on every level, and that alone proves Spielberg, cast and crew all did their job.

When Spielberg is done directing, "Bridge of Spies" will probably not make anyone's list of his top films, but it shows that just about any corner of history can make for an excellent film in capable hands.

~Steven C

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'Bridge of Spies' had much going for it, mainly that it's based on a very interesting story, Tom Hanks and Mark Rylance are talented actors with some very noteworthy performances and when in his prime Steven Spielberg directed some of the most relentlessly entertaining and entertaining films in cinema.

While 'Bridge of Spies' is not one of Spielberg's finest films, in the way 'Schindler's List', 'Jaws', 'ET', 'Raiders of the Lost Ark', 'Empire of the Sun', 'Close Encounters of the Third Kind' and 'Jurassic Park' are, for me despite its flaws along with 'Lincoln' and 'War Horse' (remember liking 'Munich' a lot too, though it needs a re-watch) it's one of his better ones since 'AI'.

There is not an awful lot wrong with 'Bridge of Spies', though due to the subject matter it's not going to appeal to all tastebuds. To me, it's biggest problem was pacing. By all means not a continuous problem, because there was enough in the film that was really engaging, but parts do drag and not every scene felt like it was needed. The beginning is notably draggy and the film could easily have ended after the climactic scene on the bridge, because the ending did feel unnecessarily stretched and was particularly guilty of the sappiness and over-sentimentality that Spielberg is often criticised for. Similarly Donovan's family scenes could have been excised with no problem, they add very little and their cloying nature did feel too much and misplaced within the rest of the film. The only other problem was Thomas Newman's score, it's nicely composed and it fits at least (to have it used sparingly was also a good move in order to not distract from the atmosphere and dialogue) but there is nothing hugely memorable or anything to go wow over or that evokes any strong emotions. Not bad as such, just bland.

However, 'Bridge of Spies', as always with Spielberg is incredibly well-made, as well as directed with a lot of class. It is sumptuously shot and the period detail is elegant, atmospheric and positively eye catching, especially the scenes in Berlin where you actually feel the cold, austerity and tension. While there is a lot of talk in 'Bridge of Spies', the script is thought-provoking and tightly structured, not making the mistake of being rambling, using complicated jargon or being too wordy. There is even some nice knowing witty humour that gives the film some freshness and is well-incorporated when it appears, while the political and patriotic elements avoid being preachy. While the pace is not completely secure and not every scene felt necessary, the story is very absorbing and is told with intelligence, tension and emotion. While there is perhaps not enough on the trial, that part is very intriguingly done, while the Berlin scenes that dominate the film have a lot of tension and suspense. The shift from America to Berlin is handled well and not too crudely, a very easy thing to do when visually and atmospherically their scenes are so different.

The characters are engagingly written on the most part, with the exception of Donovan's family (his wife in particular is the typical nurturing but frustrated cliché with little variation on it). Donovan is one of those characters that holds the narrative together as strong as a rock and is easily rootable, while Abel comes close to being the most sympathetic character while at the same time evoking some chills. The chemistry between the two characters is very strongly done. All the acting is very good (though Amy Ryan barely registers in the role that gives her very little to work with), with Tom Hanks and Mark Rylance being outstanding. Hanks is effortlessly commanding and has such a great cool charisma, essential for a lead role that is on screen for almost the whole duration. Despite his screen time being much less, Rylance portrays Abel with quiet understated dignity, with his expressions and eyes speaking every bit as much as when he's delivering his lines, that comes over both chillingly and heart-wrenchingly.

All in all, excellent and often very absorbing. 7.5/10 Bethany Cox