There’s a reason movies employ professional actors.
In Clint Eastwood’s latest film, THE 15:17 TO PARIS (2018), based on the true story of how three Americans thwarted a terrorist attack on a train bound for Paris, the iconic director made the curious decision to cast the three men who performed this act of heroism to play themselves in the movie. And it was a decision that certainly caught my curiosity, as this unusual casting idea was the main reason I wanted to see this one.
Unfortunately, with the exception of the final ten minutes of the movie, where we witness the intense fight aboard the train, the lack of acting experience from the three leads really hurts as they simply can’t carry the story, even with its brief 94 minutes running time.
We meet the three principal characters right away- Spencer Stone, Alek Skarlatos, and Anthony Sadler, and they tell us they have been best friends since middle school and that to understand their story they have to tell it from the beginning. And so the story jumps back in time to show us how they met in middle school, and then it continues through their adult lives, leading all the way up to their fateful decision to take a road trip together through Europe, a trip that eventually led them to being on that train that day.
As you can see, the bulk of the movie is back story, and so to ask these three men to play themselves is asking a lot. They never really seem comfortable with the whole thing until the climactic reenactment of the terrorist attack.
It’s a funny thing to say because after all, they’re playing themselves. Who would know better what they thought and felt than them? But that’s where things get interesting. See, this is a movie, an art form, and as such that’s why you need professional actors who make it their living to be able to convince an audience exactly what their characters are thinking and feeling. Halfway through this movie, it dawned on me that these three guys were rather boring. Don’t get me wrong. I liked these guys a lot, but I didn’t buy a ticket just to see three friends chat and re-enact their life stories. I bought a ticket to a movie, which is not real life, and as such, has to work through the artists who make them to come off as more true than real life. That’s not the case here. These three gentleman, as likable as they are, simply don’t possess the charisma to carry a movie or to make it a convincing 94 minutes.
And there is more that is wrong with THE 15:17 TO PARIS. The script by Dorothy Blyskal, based on the book by Anthony Sadler, Alek Skarlatos, Spencer Stone, and Jeffrey E. Stern is incredibly dull. There’s just not much to this story of how these guys became friends.
That being said, the three boys who played Spencer, Alex, and Anthony when they were in middle school, William Jennings, Bryce Gheisar, and Paul-Mikel Williams were very good, and I really enjoyed watching them. Their scenes worked. Although the school they attended was horrible. If the boys’ school was as bad as it’s depicted in this movie, it’s one of the worst schools going.
Judy Greer plays Spencer’s mom Joyce, and she too is very good in the role of the single mom who struggles to raise her son on her own.
But the film never becomes truly watchable until its final reel. The climactic scuffle on board the train is by far the best part of the movie. Eastwood does a terrific job here, and it’s also the one sequence where the three real-life characters seem to come to life.
Is it enough to save the movie? Not really.
It would have been a far more suspenseful film had it been all about the train ride and the subsequent attack, but that is clearly not Eastwood’s purpose here. His purpose, which is highly commendable even if the film doesn’t really work, is to honor and celebrate the heroism of these three men. I think it would have worked better had this been shot as a documentary, where the story could have been told through interviews and anecdotes rather than flat reenactments.
I also appreciated Eastwood’s decision to pretty much exclude the terrorist from this movie. It’s clear that Eastwood is saying that this is not the terrorist’s story. It’s the story of the three Americans. As such, we barely see him until the end, and his face hardly at all.
On the other hand, the main theme here of one’s inevitable fate didn’t really work for me. The three friends constantly talk about the feeling that they were born for a singular purpose, which of course turns out to be their successful thwarting of a terrorist attack. But the screenplay hammers this point home nonstop, and the result is nothing more than stating the obvious.
Clint Eastwood made an intriguing decision to cast the real life heroes in his movie, THE 15:17 TO PARIS, but it’s a decision that ultimately doesn’t work, as these three young men simply can’t carry the movie on their backs. The best part is the final ten minutes, which chronicles the actual terrorist attack, but what comes before this exciting finale is tedious and mundane.
You might want to skip THE 15:17 TO PARIS and take the next train instead.