NY Times
With its scenes of prisoner abuse, arguments about American justice and all the cameras that telegraph the emergence of the surveillance state, “Bridge of Spies” suggests that the Cold War has its own twin in the war on terror. That’s hardly controversial, yet it’s something far too few filmmakers engage. In 1966, John le Carré, that great bard of the Cold War, responded to a Russian critic who said he had fanned its flames in his work, including “The Spy Who Came In From the Cold.” Mr. le Carré countered that what concerned him was the cost, “in moral terms,” to the West in its fight. “How long can we defend ourselves – you and we,” he wrote, “by methods of this kind, and still remain the kind of society that is worth defending?” A half-century later, Mr. Spielberg is asking the same question.
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Good to hear that Tom Hanks and Steven Spielberg aren't slowing down any. Good for hem.