Here’s a surprise: an effete writer for the New Yorker is uncomfortable with patriotism, guns and the kind of men who join the military. So as you might imagine, Anthony Lane isn’t wild about Clint Eastwood’s new movie.
Lane claims that The 15:17 to Paris is one of the weirder films of the year, calling it a “thrusting reactionary fable that ends up bumping into the avant-garde.” The movie centers around the true story of three unlikely heroes (played by themselves) who, while on a European vacation, stop a terrorist from murdering a train full of people.
Lane recalls that the incident portrayed in the movie was “quite a story at the time, and the news coverage was excitable and widespread.” Unarmed American servicemen stop a deadly terrorist attack, ho-hum, don’t be so excitable. Lane says Eastwood making a “ninety-four-minute movie out of an incident that lasted