Steven Spielberg has reverted back to mushy mode. His new movie, The Terminal, is a throwback to the days when his sentimentality went unabashed, and when his primary goal was to please the audience. After his recent jaunt into more sobering and sometimes disturbing fare, this new turn comes as a surprise.

Thankfully, though, the movie is not heavy in any way. Many of Spielberg's earlier films desperately want you to emotionally believe what is happening; they were good at demanding your heart's investment, which raised the potency of their dramatic impact. The Terminal, however, is assuredly lightweight, almost knowingly so. Using several calculated bits of comedy and romance, Spielberg seems to be letting the audience know that he's not trying to be terribly serious this time, so just sit back and enjoy the show. Therefore, while the end result is pretty entertaining, it doesn't have much sticking power. 

The show, this time, is none other than another endearing acting exercise by Tom Hanks. Here, he plays a just-landed visitor from the fictional Eastern European country of Krakozhia, now stranded at JFK International when war erupts in his homeland, thus nullifying both its sovereignty and, consequently, his passport. His character, Viktor Navorski, speaks little English, but is made to understand that he isn't allowed to leave the borders of the terminal. Hanks plays Viktor as a foreigner with a soft, unassuming disposition, but at the same time he's resourceful and a fast learner. It doesn't take him too long to figure out a way to survive and inhabit the airport.

At first it's a little tough to buy what Hanks is doing, mainly because he's so recognizable a figure that you're too conscious of his faking this Russian-derived accent. But unless you're keeping all your shields up, you'll eventually settle in and let Hanks take you where he wants you to go. If there weren't so many other side characters running around, this movie could've been Cast Away in an airport, but the presence of these other bit players, most of whom befriend Viktor, is welcome as they contribute to the easy flow and humor of the tale.

In keeping with that spirit, even The Terminal's social commentary is light. The movie makes the ironic observation that, although Viktor is told he can not enter "America" (i.e., leave the airport), the world he finds himself living in happens to be an accurate microcosmic representation of America. It has an active brand-driven commerce and is populated by a diverse selection of people. This is quite an interesting point to display, but it's not particularly profound. There was lurking potential to comment on the state of American security as it impacts the immigrants who suffer the most in the hands of recent policies, but that area isn't really touched upon, thus maintaining the film's geniality.

This all makes The Terminal sound like a trifle, which isn't an accident. After seeing what Spielberg had been serving up lately, his latest movie feels as if it was directed on auto-pilot. Toward the end, though, he doesn't turn the faucet off quite tightly enough to prevent the excess sap from leaking through. That said, The Terminal is told with a veteran storyteller's confidence; this, along with Hanks's performance, promises a pleasantly sweet viewing, especially if you're not the kind of person to deny your sweet tooth.

(Released by DreamWorks and rated "PG-13" for brief language and drug references.)

Review also posted on www.windowtothemovies.com.