unfortunately [the movie] is mostly comprised of banal, drama-free, quotidian scenes that merely reinforce the men's status as regular Joes who, one day, had the opportunity for greatness thrust upon them
setting aside the xenophobic characterization of the nameless terrorist who takes on the train, the showdown between the men and the assailant is some of Eastwood's most intense filmmaking ever
much like Sully, there's not enough meat on the bone for a feature. And like American Sniper, it shows little interest in finding a deeper meaning in its characters, their actions, and their country
Compelling drama it is not... Minus its pivotal event, "The 15:17 to Paris" feels a lot like sitting through someone else's endless photo slide show: Really only interesting to the people who lived it
Clint Eastwood's movie experiment fails badly. Primarily because the leading trio aren't actors and also clearly haven't been asked to act. Instead they just coast through increasingly random and meaningless scenes
Clint Eastwood's bold choice to have real protagonists does little to enliven a listless story about friendship. Although the terrorist attack is effectively staged, The 15:17 To Paris fails to spin a remarkable film out of a remarkable act of heroism
by Peter Travers [Rolling Stone ]
by Sara Stewart [New York Post ]
by Gregory Wakeman [Metro ]
