Tom Hanks 'Greyhound' sequel sails into D-Day & the Pacific

AppleInsider

Tom Hanks is steering Apple TV+ back into WWII waters with a high-stakes sequel to "Greyhound," with production scheduled for early 2026.

"Greyhound" returns with a sequel

Apple Original Films is once again partnering with Hanks' Playtone banner and director Aaron Schneider for the follow-up to the 2020 wartime thriller. Hanks returns as Captain Krause and is also writing the script.

The sequel will expand beyond the Atlantic setting of the first film, taking audiences from the beaches of Normandy to battles in the Pacific theater, according to Deadline.

Filming is set to begin in Sydney, Australia, in January 2026. That choice has already drawn criticism from U.S. crew advocates who argue that filming overseas continues a trend of outsourcing production jobs, particularly in an industry still recovering from recent strikes.

The original "Greyhound," based on C.S. Forester's novel The Good Shepherd, debuted in 2020 during the height of the COVID-19 pandemic. It followed a newly promoted U.S. Navy commander tasked with leading a convoy across the Atlantic while evading German U-boats.

Though it had a relatively modest budget, the film was praised for its tight pacing and immersive naval combat.

The project adds to Apple's growing portfolio of WWII dramas

Apple hasn't announced a release window for the sequel, but given the early 2026 production timeline, a 2027 debut is likely. Talks are reportedly underway to bring back key supporting cast from the first film.

Supporting cast includes Stephen Graham, who recently drew praise for his performance in the Netflix film "Adolescence."

The project adds to Apple's growing portfolio of WWII dramas produced in collaboration with Playtone, including the critically acclaimed limited series "Masters of the Air."



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tmay

Naval operations between the Allies and the Japanese in the Pacific, were a brawl from the Battle of Savo Island, to the New Georgia campaign, and Cruisers and destroyers were central to these Naval battles, often without air support. Losses on both sides with extensive, especially during the frequent night battles. These battles occurred from August 1942 at the start of the Guadalcanal campaign to October 1943, with the capture of New Georgia.

With that, the most memorable battle for destroyers is likely the Battle off Samar, during the invasion of Leyte gulf in the Philippines, where a small task force of destroyers, destroyer escorts, and Escort carriers, took on a Japanese task force that included the battleship Musashi, armed with 18 inch main guns, attempting to breakup the Leyte landings. 

Japan wasn't able to do that.

I expect that this will be a great film.

entropys

Speaking of American films being made in Oz (although Elvis Presley was a Baz Luhrmann production), while filming Elvis Presley in Australia Hanks and his wife contracted Covid in the outbreak’s early days and got isolated in a hospital on the Queensland Gold Coast. Being older he and his wife Rita were quite impacted, but not that much. An example of the initial panic resulting in response overreach, even a rich celebrity couple were required to isolate in a hospital rather than their luxurious Gold Coast accommodation. 

the issue of countries influencing where films get made isn’t only an external issue, it also happens in the USA between states.

The film industry in Oz and similarly in many other countries and states within them get enormous tax breaks, grants and subsidies to attract industry. Film companies of course game this to maximise as much taxpayer loot which is why there are so many (and the list ever longer) national and state film associations taking up space towards the end of the film’s credits. It’s like some sort of ever escalating war using subsidy weapons.

The local justification is that it helps build up the local industry so it can make better local product by attracting big international films. But the local film industries never ever seem to be able to stand on their own feet without them, regardless of country. They are forever infant industries.  And worse, chasing that loot starts influencing what films are made.  Gatekeepers of that loot (eg arts industry bureaucrats) start having more and more control over what gets made because they decide who gets the funds. Less of a problem with big international productions, but local content these days would just not happen without those handouts. The main customer for local industry becomes the grant providers, not the ticket holders, with the inevitable result the potential ticket holder isn’t that interested and uses their money on something else.  

But even at major international film level, chasing handouts from bureaucrats is no doubt one of the factors leading to a more risk averse industry and we get endless sequels, prequels and offshoots instead of new, original ideas.

i don’t know what the solution is to the ever escalating skirmishes for government favour, so the subsidy wars can be brought to an end. Any action to wean film industries would be portrayed as shooting a whole herd of Bambis. Or in the Australian context, a whole mob consisting of skippy the bush kangaroos.

entropys

Regarding CS Forester, a streaming series of his Horatio Hornblower novels would be absolutely awesome. 

The poms did a 1998 six TV movie effort starring Ioan Grufford  that was low budget and pretty good, but that only covered a few of the first novels. There was a Gregory Peck/Virginia Mayo 1951 movie called Captain Horatio Hornblower which was quite popular (trivia: the role was originally planned for Errol Flynn).

A competitor streaming series could be the stories by Patrick O’Brien of lucky Jack Aubrey, with an version of bits from various novels in the 2004 movie awesomely produced by Peter Weir and acting from Russel Crowe in Master and commander, Far Side of the World. should have won a heap of Oscars but finally LOTR’s turn.

edited April 25

entropys

tmay said:

Naval operations between the Allies and the Japanese in the Pacific, were a brawl from the Battle of Savo Island, to the New Georgia campaign, and Cruisers and destroyers were central to these Naval battles, often without air support. Losses on both sides with extensive, especially during the frequent night battles. These battles occurred from August 1942 at the start of the Guadalcanal campaign to October 1943, with the capture of New Georgia.

With that, the most memorable battle for destroyers is likely the Battle off Samar, during the invasion of Leyte gulf in the Philippines, where a small task force of destroyers, destroyer escorts, and Escort carriers, took on a Japanese task force that included the battleship Musashi, armed with 18 inch main guns, attempting to breakup the Leyte landings. 

Japan wasn't able to do that.

I expect that this will be a great film.

Totally agree. Don’t understand the grizzling about this production.  The whole naval history of the pacific war was absolutely incredible and the attrition (if you can call it that) I suspect would not be tolerated today. The other interesting bit about the Battle off Samar was the American task unit of smaller ships against a major Japanese fleet was that Admiral Halsey had been tricked into sending the Third Fleet north after a decoy, leaving a small task unit of small escort carriers and destroyers.  That the small American fleet defeated such a vastly superior force is an incredible victory against all odds.

 

edited April 25

apple-a-day

Masters of the Air was highly disappointing - not even close to the level of Band of Brothers and the Pacific series. I hope the Greyhound sequel is better.

22july2013

Watching Greyhound was like watching a documentary, not a movie. Which isn't a bad thing in itself.

macgui

 I was disappointed in Masters of the Air. It just wasn't gripping enough. It was ok, as I watched it twice. But I expected more. I enjoyed Greyhound. It had energy  and good pacing. It would have been more enjoyable on the big screen, but Hanks didn't have Cruise's pull with the studio.

Band of Brothers was awesome on a 50" screen, my first viewing. Then saw it again on a newer 80" screen with In Motion or similar motion smoothing in effect. There were some occasional artifacts compared to if it had been shot at 60fps. I quickly got used to it and it imparted a much better realism than watching it 'straight' at 24fps. Scenes that included panning were much more effective than the straight, choppy 24fps.

Sequels are always a worry for me since they're more often than not lacking compared to the original. There are exceptions. The key word is exceptions. Maverick was one. A monster success. I look forward to this one with cautious optimism.

I hope this sequel is as good as Greyhound. That'll make me happy.