The Finest Hours is a 2016 American movie, casting Chris Pine, Casey Affleck, Ben Foster, Holliday Grainger, John Ortiz, and Eric Bana. The film has made on a true story of the U.S. Coast Guard’s most daring sea recue by Michael J. Tougias and Casey Sherman. The film fell on the category of history, disaster drama-thriller, where the director portrayed the true cause of the 1952 United States Coast Guard rescue of the SS Pendleton, after it split apart during a nor’easter off the New England coast.
The Finest Hours: “I expected nothing special and wound up being thoroughly exhilarated”, Rex Reed
The top words from the top critics for the film were as follows,
Rex Reed – New York Observer February 4, 2016
I expected nothing special and wound up being thoroughly exhilarated.
David Sims – The Atlantic February 1, 2016
Too few of Hollywood’s recent offerings can boast such a simple throughline and know when to wrap it up.
Rafer Guzman – Newsday January 29, 2016
A remarkable tale, confusingly told. Impressive storm sequences and a very good Pine almost save the day.
Peter Rainer – Christian Science Monitor January 29, 2016
Maybe it’s just the History Channel junkie in me, but I would much rather be seeing a documentary about this mission than a trumped-up drama featuring brand-name actors and CGI squalls.
Katie Walsh – Tribune News Service January 29,2016
It feels like a parody of a prestige film, like one of the fake Oscar trailers in “Tropic Thunder.”
Matthew Lickona – San Diego Reader January 29, 2016
A straight-up Boys’ Own adventure yarn, set sincerely and squarely in early ’50s New England but gussied up with plenty of 21st-century StormWave CGI.
Peter Sobczynski – RogerEbert.com January 29, 2016
The 3-D conversion is so murky that there are long stretches where it is almost impossible to discern what is going on up on the screen.
Lou Lumenick – New York Post January 29, 2016
This disaster flick manages to stay afloat largely thanks to the yeoman efforts of Casey Affleck.
Kate Taylor – Globe and Mail January 29, 2016
There’s nothing subtle about The Finest Hours, but much that is satisfying.
Adam Graham – Detroit News January 29, 2016
“The Finest Hours” tells a noble story of brave men who risked their lives to help others. Yet its good intentions are suffocated by its showboat style that favors effects over humanity.
Peter Howell – Toronto Star January 29, 2016
Gillespie (Million Dollar Arm) and his screenwriters laudably strive to keep true to the film’s real-life account from 1952… But history often needs more than just the bare facts to make for a satisfying movie.
Jim Slotek – Toronto Sun January 28, 2016
The life-and-death moments keep it afloat.
Richard Roeper – Chicago Suntimes January 28, 2016
The heroism of that small-boat crew from 1952 deserves a special film. This is not it.
Kenneth Turan – Los Angeles Times January 28, 2016
Before scoffers scoff, realize that this tale of nautical derring-do has several things going for it to counteract the inherent obviousness of the material.
J.R. Jones – Chicago Reader January 28, 2016
This thrilling adventure is periodically interrupted by a feeble romantic subplot.
James Berardinelli – ReelViews January 28, 2016
The Finest Hours is all about action, suspense, and tension, and it rarely lets its audience down on any of those accounts.
Ty Burr – Boston Globe January 28, 2016
It’s a movie made for the kind of audiences who feel that movies aren’t made for them anymore – you know who you are. If you go, you might want to bring a raincoat.
Joe Morgenstern – Wall Street Journal January 28, 2016
The drama is almost stillborn, thanks to a slow, deadly dull romantic preface, and it’s subverted by incessant switching between spectacular struggles on the Atlantic and generic anxieties on shore.
Randy Cordova – Arizona Republic January 28, 2016
“The Finest Hours” is set in the early ’50s. But did it really need to feel like it was made during the Eisenhower era?
Alan Scherstuhl – Village Voice January 28, 2016
The real reason they don’t make them like this these days is that the creators of blockbusters have forgotten that the loss of life is a tragedy, and that seeing it saved is more edifying than seeing it snuffed.
Peter Travers – Rolling Stone January 28, 2016
On the waves, the film finally finds its sea legs and delivers an old-school adventure based on a heroic deliverance that deserves its day in the sun.
Carry Darling – Fort Worth Star- telegram January 28, 2016
The Finest Hours… splits in two much like the wounded vessel at its heart. There’s the film that’s set on the sea and much of that is pretty terrific…And then there’s the film set on land, and that one runs aground.
Michael O’Sullivan – Washington Post January 28, 2016
The script embraces certain character archetypes wholeheartedly (pig-headed crew mate; ramrod-stiff officer) and not always successfully. Yet the tone, the mood of the picture, with its desaturated color palette, maintains the right atmosphere.
Mick LaSalle – San Francisco Chronicle January 28, 2016
The appeal of “Finest Hours” can’t be its suspense, but its execution. What happens is important, but more important is how it happens and whom it happens to.
Jesse Hassenger – AV Club January 28, 2016
The ocean-set peril grows monotonous, and the attempts to infuse Grainger’s worry-girl role with some agency and dramatic urgency are noble, but largely unsuccessful.
Brian Truitt – USA Today January 28, 2016
The rescue drama The Finest Hours rocks the boat in terms of blizzard-blitzed sea thrills but leaves you cold with its side love story.
Stephanie Zacharek – TIME Magazine January 28, 2016
[Pine is] the movie’s finest special effect-not because he plays Webber as mindlessly brave but because he lets us see how scared he is.
Soren Anderson – Seattle Times January 28, 2016
The storm effects are first-rate, immersive all the way. The tale-telling ability of director Craig Gillespie is frustratingly inconsistent.
Stephen Holden – New York Times January 28, 2016
“The Finest Hours” never departs from a tried-and-true formula, but that’s one of its quaint charms.
Andrew barker – Variety January 26, 2016
The whole cast and crew all put in a solid shift at the office making the movie, producing a perfectly entertaining, sometimes quite well-crafted disaster drama that nonetheless retreats from the memory almost as soon as the credits roll.
Stephen Whitty – Newark Star ledger January 26, 2016
The movie’s all ship, no crew. We get lots of effects, but little emotion. We’re awash in spectacle – car crashes, sinking tankers, storm-tossed boats – but the human element is mostly forgotten.
Chris Nashawaty – Entertainment January 22, 2016
While its first-act romance has a sweetly nostalgic, Andy Hardy glow, and its high-seas action sequences are mildly thrilling, The Finest Hours ultimately feels too harmless and predictable to fully surrender to.
Sheri Linden – Hollywood Reporter January 18, 2016
Gillespie isn’t able to conjure a stirring cinematic experience. The pieces don’t fuse so much as fit together, and much of the action feels instructive rather than immersive.
Alonso Duralde – The Wrap January 18, 2016
We’re told that a certain action is impossible, until it isn’t, or that a certain thing would never happen, and then it does, so even with all those lives on the line, the movie can’t effectively build up stakes or consequences.
However, it seems that the movie has received mixed reviews and finally it’s earned $52 million worldwide.
Don’t forget to check out – Chris Pine Biography