Bridge of Spies is a film out of time. It's the type of production that looks and feels like it was crafted long ago and only recently re-mastered to highlight its glossy production values. While it’s not really an instant classic, it’s also hard to deny that it feels a bit like one because of these things. It’s a beautifully shot, lovingly paced adult drama that’s somehow out of step with the current cinematic moment. In a time when we’ve become a little too accustomed to our “serious” movies leaning heavily on social justice biopics and effects-laden war stories, Bridge of Spies is a quiet affair that emphasizes conversation, ethical complications, and rounded, messy human beings who don’t simply stand in as symbols of larger systems. This is strange, perhaps, because of course: that’s exactly what the characters in Steven Spielberg’s Cold War film kinda actually do at some basic level. It’s not that Bridge isn’t that movie – it’s the story of James B. Donovan (Tom Hanks) and Rudolf Abel (Mark Rylance) the Soviet spy he’s assigned to give a fair trial to -- it’s just that Spielberg manages to complicate that narrative, split the film’s focus, and transport the viewer through a distinct sense of place and time.