Chuck, a top international manager for FedEx, and Kelly, a Ph.D. student, are in love and heading towards marriage. Then Chuck's plane to Malaysia ditches at sea during a terrible storm. He's the only survivor, and he washes up on a tiny island with nothing but some flotsam and jetsam from the aircraft's cargo. Can he survive in this tropical wasteland? Will he ever return to woman he loves?
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Stars
Tom Hanks, Helen Hunt, Chris Noth, Nick Searcy, Lari White
Although Cast Away is very much Hanks's extreme everyman solo, his inanimate Man Friday deserves recognition as one of the year's best supporting actors.
Though Hanks comes across as blandly as ever, at least his solid performance shows he's up to carrying half a movie on his own, and Zemeckis' direction is at first as busily efficient as the protagonist.
This isn't a first time a long-awaited movie has turned out to be a crushing disappointment and it won't be the last, but the loss is made even more wrenching when one considers how little it would have taken to make Cast Away a great movie.
If all of Cast Away were as gripping as its long midsection, it would be overwhelming; still, even with its flaws, it marks another milestone performance for Tom Hanks as well as for Robert Zemeckis.
Hanks made more faces and walked around with his mouth open more than I might have liked, but he has a way of revealing his thoughts without words that kept me intrigued.
Cast Away isn't the first to recognize our modern need for primal tales, but it is among the most accomplished. It plugs straight into our unplugged fantasies.
Tom Hanks does a superb job of carrying Cast Away all by himself for about two-thirds of its running time, but isn't much helped by additional characters in the opening and closing sequences.
As melancholy as it is affirming, "Cast Away" tells a darkly comic, occasionally punishing parable about what happens when humans lose sight of humility in life's grand scheme - an interesting thematic twin to Tom Hanks' own "Joe vs. the Volcano."
It's really kind of ironic. The old Chuck's life is ruled by the clock. Once he's learned better, we don't get enough time with him because the author's decided it was time to go. Oh, well.
The challenge to the character is matched by the challenge to the actor; for most of the movie Mr. Hanks is the only human being we see or hear. He tackles the job with stunning confidence in a performance stripped of gimmicks and driven by need.
the usually flashy and fun-loving Zemeckis opts for an almost documentary-style approach here, with cunning use of silence, darkness and the sound of pounding rain to convey Chuck's disorientation and desperation.
A brave film, and a surprisingly absorbing and finally affecting one, partly because it's about that least American of trinities -- silence, solitariness, and the spiritual deepening impossible to achieve without both.
Director Robert Zemeckis and screenwriter William Broyles Jr. do a great job of keeping the cut-and-dried formula from, well, getting too cut and dried.
A handsomely made, instructive but finally tedious blow-by-blow training film on island survival that it throws the entire venture out of balance, capsizing the enterprise and making it difficult to keep any kind of message afloat.
Remains one of the more vividly transporting films I've come into contact with. It's heartbreaking, darkly comedic, bravely observational, and ultimately, pure emotional poetry.