The most appreciated part of the film is its de-artistic. Eastwood experimented with a minimalist style on the film, which made some of his other works show baroque beauty. He seems to be testing the limits of minimalism, testing how many artificial carvings can be removed without destroying the dramatic tension of the film. The authenticity of the story ensures a straightforward power, and this is exactly what Eastwood is trying to show in the film. It is his ingenuity to absorb the true story that gives the film a charming charm and touching power, which is extremely straightforward and mysterious.
Whether intentionally or not, the real charm of the film is the hallucinogenic boring holiday: endless beer, endless coffee, endless selfies. There is no tension and no real connection between the protagonists, as if they don't know each other very well. However, this may also be the actual appearance of real friends, and there is no script-style movie to highlight friendship at all times.
Although these three young people became actors for the first time, they showed a kind of inherent personal charm. However, as shown by Eastwood and screenwriter Dorothy Blaskell, their journey lacks drama in itself. Before the three men board the train to face the terrorists, the plot lacks dramatic conflict. If Eastwood did not randomly insert the clip at the beginning of the terrorist attack in the early stages of the film, there would be no dramatic tension in the film.
