Steven Spielberg directs Tom Hanks, Mark Rylance and Amy Ryan in this Cold War negotiation drama.

Given the talent involved and the moment in history recreated, this often feels like a smaller, slighter film than the one trailered. And this proves a strength as the nimbleness and light touch leaves rooms for some fine mid level action set pieces and beautiful performances from the leads. At times Rylance and Hanks’ excellent turns feel like a visual essay comparing the subtle stage actor and beloved movie star’s long developed crafts. Instead of uncomfortable contrast though it is the perfect compliment of styles. In fact, when Rylance is later left behind in the States and Hank’s intelligent lawyer is left adrift in beyond “The Wall” bureaucracy the movie loses a little wind from it sails that the pairs’ chemistry unfussily generated. The opening courtroom grand standing and growing mutual respect of the leads in the first half makes for a better movie. Spielberg directs more ambitiously in this opening hour with some excitingly disconcerting scene shifts, a lovely of-its-time moment involving photographers’ flashbulbs on the floor and all interiors filmed with a blinding outward light bursting through the windows (like the threatened nuclear exchange has happened and these conversations are the final moments of humanity being captured). That relaxed but masterly direction is muted in the more Diet Le Carre second section but all in all this is probably Spielberg’s most satisfying and pleasurable work since War of the Worlds, over a decade before.

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