2018 Directed by Clint Eastwood
On Aug. 21, 2015, the world watches in stunned silence as the media reports a thwarted terrorist attack on a train that's bound for Paris -- an attempt prevented by three young Americans traveling together through Europe. The heroic and courageous actions of Anthony Sadler, Alek Skarlatos and Spencer Stone help to save the lives of more than 500 passengers on board.
Ray Corasani Spencer Stone Anthony Sadler Alek Skarlatos Judy Greer Jenna Fischer William Jennings Paul-Mikél Williams Bryce Gheisar Thomas Lennon P.J. Byrne Jaleel White Tony Hale Robert Pralgo Alisa Allapach Jeanne Goursaud Ethan Rains Seth Meriwether Irene White Julianne Binard Alix Bénézech Lillian Solange Beaudoin Matt J. Thompson Camille Razat Braxton Bjerken Camden Haydon Cole Eichenberger
Erno Das Ross Dunkerley Stephen S. Campanelli Will Arnot Hugues Espinasse Elvis Pasqual Stéphane Assié
Ronald R. Reiss James E. Tocci Bria Kinter Kil Won Yu Emmanuel Delis Mick Cummings Letizia Santucci Chuck McCourt Nelson Hagood Joshua Green Tina Trottin Mathias Canard Sam Jones
Catherine Harper Dean A. Zupancic Dan O'Connell John T. Reitz John T. Cucci Alan Robert Murray Willard Overstreet Katherine Rose Adam Kopald Cameron Steenhagen Jason King Kevin Murray Steven Morrow James Ashwill Roberto Dominguez Alegria Darrin Mann Russell Gorsky Jason Chiodo
Gary Archer Luisa Abel LuAndra Whitehurst Elodie Taquet Maurizio Nardi Maria Solberg Lepre Roberta Galesso
15:17 til Paris, The 15.17 to Paris, 15時17分、パリ行き：2018, 15:17 до Париж, Paříž 15:17, 15:17 nach Paris, Αναχώρηση Για Παρίσι 15:17, 15:17 Tren a París, Kell 15.17 Pariisi, 15:17 Pariisiin, Le 15:17 pour Paris, Le 15H17 pour Paris, הרכבת של 15:17 לפריס, Vlak u 15:17 za Pariz, A párizsi vonat, Ore 15:17 - Attacco al treno, 15時17分、パリ行き, 15시 17분 파리행 열차, Traukinys į Paryžių, 15:17 līdz Parīzei, 15:17 do Paryża, 15h17: Trem Para Paris, 15:17 Destino Paris, Поезд на Париж, 15:17 Paríž, หยุดด่วนนรก 15:17, 15:17 Paris Treni, 15:17 на Париж, Những Người Hùng Paris, 15点17分，启程巴黎, 15：17巴黎列車
War and historical adventure Politics and human rights High speed and special ops political, democracy, documentary, president or propaganda war, wwii, combat, military or duty war, soldiers, combat, military or fought pilot, exciting, heroic, excitement or crashes action, explosives, exciting, action-packed or villain Show All…
I'm not sure how I feel about the entirety of this movie. What I am sure about is the opening moments, and the accuracy of its portrait of three young boys growing up in a Christian household in America. I know this because it was my life. There are certain expectations of you, if you're assigned male at birth, in a home that prioritizes things like prayer on Sunday over Football. You're pushed in a certain direction that radicalizes you at a young age to consider the military as the highest possible honour you could chase in your lifetime. It goes back to the cross, Jesus and sacrifice. It almost makes you godly, so you play with other boys on…
at this point i think its safe to assume clint eastwood shares "how many likes for our troops?!🇺🇸🇺🇸🤔👍" posts on his facebook and bases all his movies off them
Say what you will about Clint Eastwood -- and I don't love that he did that chair speech either -- but there's no working filmmaker who more accurately depicts the America that I see whenever I drive through it. The America of Clint's post-American Sniper output is an America of shitty bungalows and cheap apartments and ugly strip malls and crumbling legion halls, all shot in a very matter-of-fact style that doesn't rub your nose in ugliness, but doesn't manufacture any prettiness for you either. Populating these bleak landscapes are unremarkable characters (most of them based on real people) on a path of downward mobility who rise out of it through a freak accident of fate. This movie has a…
Kiarostami circa 1990....American style
I think I liked it but I have absolutely no idea what to make of this movie
Eastwood, at the tender age of 87, accidentally discovers modernism
How can Americans relate to Europe? When you grow up in the historyless, cultureless suburbs, how can you relate to a place as old as Venice in any sort of meaningful way? The 15:17 to Paris is hyper-aware of the banality of tourism; Anthony Sadler's love of the selfie stick is only a (slightly) exaggerated portrayal of what every American tourist in Europe does and feels, a profound sense of surreality (my friend upon arriving in Dubrovnik: "this is a fake place") and our own banality, the concept of something so old and historied being so entirely outside our spectrum of understanding that we must to some extent reduce Europe to a Las Vegas-esque parade of icons and images.
How…
Manifest destiny as updated to 21st century. The ultimate reward is your own movie (it is an amazing coincidence that the guys are from Sacramento as this really is Lady Bird’s Republican cousin). Between American exceptionalism and a dedication to the most banal actions. Eastwood’s most plain filmmaking for good and for worse. The first act, in particular, has some very awkward scenes and the film has a split between the push of fiction and taking a step away that is both very intriguing and frustrating. At same time, the editing is sharp, and Eastwood can focus in the most telling details (from the guys watching college basketball to the recoil when Sadler gets in the room after they stop the terrorist). I can’t think of a film that has such a careful look at how American Christianity and militarism are intertwined.
If you thought there was a nadir of filmmaking, think again because Clint Eastwood just took his 87-year old body and slammed through it like a running back. The script reads like a parody of a script that someone would describe as a “really bad parody,” and the only eyes that should've been laid on it should've been watching the pages disintegrate in a massive fire pit. Religion, upbringing, and the reasons for enlistment are all fascinating topics, but the dialogue does its best to convince you they're not. With lines like "life is pushing us toward something" and "God told me something exciting would happen to you" and “shut the heck up Alek,” as well as acting that should…
"I want to go to war; I want to save lives."
This line, coming approximately a half-hour into The 15:17 to Paris, exposes one of the films central dichomities, the desire if not obsession for war with the rationalization that war is the humane thing to do - a dichomity that Eastwood is not able to reconcile, but merely percieve. The formal gamut the film makes doesn't much resemble the Eastwood of the past, but this thematic thread does: the absurdity of rationalizing war and saviourism as an equalivency is - especially as an 'everyman' story - the heart, if not the truth of America. What makes 15:17 special, both among Eastwood's oeuvre and perhaps, as a film that will…
