Listen closely while watching Finch and you can almost hear a studio exec’s elevator pitch. It’s certainly apparent in every single frame of the film, almost to a tee designed to live up to the proposition of being “Turner and Hooch meets Cast Away in a post-apocalyptic future.” This might be a reductive way to view the latest effort from veteran TV director Miguel Sapochnik, making his first feature-length effort in more than a decade––but the filmmaker is at least self-aware enough to know his film is at its most palatable when coasting by on this familiar charm. Finch is a vehicle designed for Hanks in the very sense that it wants you to think of it as the connective tissue between those two former glories, even as it plainly struggles to reach their modest heights.
World-building for this ravaged America is largely left to the imagination.
World-building for this ravaged America is largely left to the imagination.
- 11/4/2021
- by Alistair Ryder
- The Film Stage
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