The Man with No Name continues his series of stars-n-stripes character studies with this worthy biopic, Sully. The story of Hudson River hero, Chelsey \u201cSully\u201d Sullenberger, who became a hero when he landed a passenger plane carrying 155 souls in the sub-zero temperatures of New York\u2019s iconic waterway back in 2009.\r\n\r\nStructured in a Rashomon style series of flashbacks to that fateful day, each revealing slightly more about the event than before, we\u2019re introduced to Sully (Tom Hanks) in a state of intermittent PTS, replaying the crash in horrific detail during his waking dreams, and struggling with the wave of media attention heaped upon him and co-pilot, Jeff Skiles (Aaron Eckhart). Their mental state isn\u2019t made much easier when the air traffic investigation team begin to question whether Sully needed to risk the lives on board, claiming air traffic control had offered alternative runways on which he could have still landed.\r\n\r\nJersey Boys aside, Clint Eastwood\u2019s recent output has had a real tinkly piano, soft focus, meditative outlook on life, and Sully shares much in common with his historically dubious 2014 blockbuster, American Sniper. If anything, you feel that this is an attempt to right-the-wrongs of that admittedly excellent film, by similarly having a man acting on instinct, who\u2019s forced to reluctantly carry the burden \u2018hero\u2019, and then dealing with the weight of his actions. This time though, Chelsea Sullenberger is a real American hero.\r\n\r\nWho better to play the heroic everyman than Tom Hanks, who excelled last time he was adrift at sea in Captain Phillips, and here plays Sully like a distant relation to Phillips; heroic when the situation dictates, capable of throwaway lines amidst the mayhem, but even better when asked to depict a man holding it together as a catastrophe unfolds. He\u2019s particularly impressive during the quieter, reflective scenes; a phone call home to his oblivious wife (Laura Linney \u2013 wasted), or the moment in which he stands surveying his sinking plane. The movie wouldn\u2019t be half as effective without Hanks as its human core.\r\n\r\nThe films major hang-up is that we obviously know what happened, so it needs to do something really special to distance it from the appeal of simply watching a documentary, and sadly it can\u2019t quite manage that.\r\n\r\nThe crash sequences lack the tension of those found in Flight, or The Grey, and they\u2019re repeated so much, that by the time you get to the finale it feels as though you\u2019re watching recycled drama, and so the impact is diminished.\r\n\r\nAttempts to humanise the passengers \u2013 single mom, father and son golfing partners, interchangeable cabin crew \u2013 result in cut \u2018n\u2019 paste archetypes, some of whom are left dangling as unresolved plot threads.\r\n\r\nEastwood is more successful when generating palpable excitement from the courtroom flight simulations, doing a great job of making the audience question whether Sully is actually the hero the headlines make him out to be. It makes the finale more rousing than anything that\u2019s preceded it, because otherwise Sully is a rather pedestrian journey.