英文影评：《幸福终点站》（The Terminal）

, who’s up for a big promotion, wants him out of the airport by any means necessary, eventually goading him into trying to escape so he’ll get arrested. In one of the more interesting character spins in the film, we learn that figuratively, Dixon is as much a prisoner of the terminal as Viktor. Their sparring leads to some of the movie’s more memorable moments.

It’s strange and unfortunate then that those memorable bits are so few and far between. Spielberg’s ballyhooed terminal set, built from scratch and shiny as hell, is nothing more than a giant vehicle for product placement for some 35 real-life stores. (I was initially shocked to see a La Perla lingerie outlet in the terminal, but it turns out there really is one in Munich International. Amazing. But why couldn’t they get the real CNN to appear on the airport TVs instead of the phony “GHN” network?)

Consumerism aside, the main problem is the coldness of Viktor’s story. We don’t feel for him, we simply pity him like someone with a severe speech impediment. Viktor’s not really a hero. He’s not fighting for anything aside from the contents of that peanut can (which turns into a thin subplot at best), and his romance with Zeta-Jones borders on the absurd. He’s just going with the flow, doing what he’s told. The result is an extremely hollow movie that goes on for far too long (two hours, feels like three) and chases about three too many go-nowhere subplots. Blame it on a lackluster script if you will (Jeff Nathanson wrote Catch Me If You Can but he also penned Speed 2); this story would have worked better as a broad comedy instead of a mopey think piece mixed with a romance.

Thankfully, flashes of humor in the film flirt with brilliance. Hanks delivers a few good belly laughs, but it’s Kumar Pallana (The Royal Tenenbaums) who steals the show as a paranoid Indian baggage handler. He’s both rude and hysterical in

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