Real life heroes star in Clint Eastwood French attack movie

"No one knows what you're going to do in that situation unless you have lived it", says Eastwood. "There's no way you could deny that".

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It's not their lack of compelling charisma that is the picture's main problem but rather that the on-screen story has not come up with anything compelling for them to do outside their heroism.

This image released by Warner Bros. I guess this is what Eastwood believes to be a true American patriot - to be able to leer at women and then save them from bullets with their wide chests.

"Spoiler alert: I definitely lived", Stone joked. In another scene, Sadler, unaware of the need for continuity, kept picking up different things with his hands in different takes. "I think - or at least I hope - that they were pleasantly surprised", Eastwood said.

Fact: The Thalys train shooter changed in the bathroom prior to initiating his attack.


This film follows the lives of Sadler, Stone and Skarlatos from their childhood in Sacramento up to that fateful moment on the train.

Though the actual attack lasted only about two minutes, Eastwood was intent on re-creating it with exacting, second-by-second fealty, with no extra Hollywood action-movie bells and whistles. The lack of the usual Hollywood showboating in favor of reality is admirable, if tiresome in some spots, but the idea of doing this is audacious and makes it all worth checking out - a curio from a world-class director who at 87 still knows how to change things up. But despite his injuries, he treated the passenger who had been shot, placing his fingers into the man's wound and pressing on an artery, which stopped the bleeding. In a stroke of luck, the attacker's AK-47 had jammed and he had accidentally dropped the magazine from his pistol.

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Stone, who moments before had been dozing, charged down the train aisle as El-Khazzani levelled an assault rifle at him. Drawing on his medical training, Stone then worked to stop the bleeding in Moogalian's neck. Stone said he had never felt more calm in his life than at that moment. It's Mark. It's his wife. And on the surface, I can understand Eastwood's passion for telling the story of how three friends thwarted an nearly certain terrorism-style massacre on a European train in August of 2015. (Haing S. Ngor essentially played himself in The Killing Fields, and athletes have been appearing in their own biopics at least since The Jackie Robinson Story in 1950.) But it's clear watching the finished product that the problem doesn't lie in hard casting - The 15:17 to Paris's entire raison d'être seems pretty questionable. That film grossed $547 million worldwide, easily the biggest hit of Eastwood's career.

Their story, and Eastwood's 36th film behind the camera, builds on the foundation of their quick, decisive, successful act of courage. I'd say, liberally, ten to twenty minutes.

John Stonestreet, the host of The Point, a daily national radio program, provides thought-provoking commentaries on current events and life issues from a biblical worldview.

In many ways, Spencer and Anthony (who travel separately for part of the time while Alek visits a long-distance girlfriend in Berlin) are your typical Americans overseas, taking selfies in front of every major attraction or lovely view, eating and drinking their way across a continent.

Unlike the silhouettes of the sundry gunslingers he played for decades, Clint Eastwood is an American artist who refuses to watch the sun set on him, preferring instead to rage, with wild intelligence and a bit of boiling contempt, against the dying of the light. "87 years old! It was the coolest thing I've ever seen". Dorothy Blyskal's script wastes time in trying to make us engage in incidents that took place years before the attack like tracing the heroes first meeting in school.

Fiction: Lisa, who Stone and Sadler met in Venice, was from Los Angeles.


Their first thought, naturally, was to take acting classes. Agents and publicists have been retained.

"You can't tell the story without ' the faith element", Sadler said, because "that's who we are". "I was like, 'No, you're right".