If you can overlook the three or four endings of Bridge of Spies, each more overdone than the last, there’s a lot to like here.
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The film has a streamlined efficiency, but it feels like the work of a master who wants to please rather than probe.
It’s Rylance who keeps Bridge of Spies standing. He gives a teeny, witty, fabulously non-emotive performance, every line musical and slightly ironic — the irony being his forthright refusal to deceive in a world founded on lies.
While the rousing tale of espionage has plenty of appealingly old-fashioned qualities, there's no doubting Spielberg's ability to devise visually arresting moments that speak to the movie's themes far better than its story.
Unusually for a Spielberg movie, Bridge of Spies is tonally uncertain.
Gifts of civility small and large mark Steven Spielberg's latest film, a deeply satisfying Cold War spy thriller that feels more subdued than usual for the director—even more so than 2012's philosophical Lincoln—but one that shapes up expertly into a John Le Carré–style nail-biter.
Bridge of Spies has a brassy and justified confidence in its own narrative flair.
While the helmer’s myth-making approach makes for great Capra-esque entertainment, younger auds may find it terribly old-fashioned — and they’d be right to think so, although Spielberg would be the first to admit it was his intention to play things classical.
Bridge Of Spies is one-third courtroom drama and two-thirds Cold War thriller, and while an engaging watch thanks to fine actors and terrific filmmaking, it’s not without its issues.
A feel-good Cold War melodrama, Bridge of Spies is an absorbing true-life espionage tale very smoothly handled by old pros who know what they're doing.