The Post: Movie Man Jackson

Whether in a relationship, a job, or in matters of politics and America, power should never go unchecked. The Washington Post is in a little bit of a transitional period, led by publisher Katharine Graham (Meryl Streep), the first female publisher of a major newspaper. Graham—as does lead editor Ben Bradlee (Tom Hanks)—wants “The Post” to be more than a local newspaper. She doesn’t command much faith in her visions, mainly because she’s a woman in a man’s world.

Opportunity does knock, however, when secrets regarding the US Government’s stance on the Vietnam War are leaked initially via the New York Times by way of the “Pentagon Papers.” Government is none too happy about it, and chooses to shut down the story before it gets too in-depth. They’re threatening criminal action if anyone else decides to run with it, but this is something that the American populace needs to know. Commence the battle between free press and the government.

Officially ending the unofficial real-life heroic figure(s) trilogy that director Steven Spielberg has lent his talents to in recent years starting with 2012’s Lincoln and 2015’s Bridge of Spies is his latest in The Post. Stop me if you’ve heard this before: It is impossible to discuss or think about The Post without thinking about our current everyday bizarre political world, but it is the truth. Spielberg has made something that honors the past, but is more so focused on preventing the future.

A fast production schedule rarely benefits a movie, but with Spielberg overseeing just about everything, it’s not likely we’d be getting a better cut with additional prep time. But, it is still impressive at just how well The Post comes out, showing no signs of a rushed timeline. The standard of excellence we’ve become accustomed to from Steven is still present, displaying a tight and historically accurate-looking presentation that rarely feels stagy or fake. Longtime legendary collaborators in cinematographer Janusz Kamiński and composer John Williams assist to make The Post one of the year’s best, technically.

Hard to find any egregious faults with The Post, if any. It’s a good movie that fits right into the season, with a solid script that seems to be very rooted into reality penned by debut feature writer Liz Hannah. One can feel the passion she has for this story and the character that is Katharine Graham. But, watching The Post is more akin to viewing an important, yet dry, history lesson more so than a compelling silver screen feature, even with the obvious allusions to what’s going on now. One that is respected for the overall craftsmanship and message rather than possessing the ability to become enamored with what is on screen.

Having Meryl Streep and Tom Hanks pretty much makes a film good by default, and no surprise, they’re excellent here. The first ever on-screen pairing between two of the greatest to ever do it proves fruitful, with the duo occasionally sharing scenes in the same location. Streep sells the fear, yet determination of trying to brave a male-dominated workforce, and Hanks sells the brazen determination of an editor trying to get to the bottom of a story the world needs, sleep be damned. Going past the big named twosome, The Post is planted with maybe not big, but well-respected, cast members in Bob Odenkirk, Bradley Whitford, Sarah Paulson, Matthew Rhys, Tracy Letts, Alison Brie, and Bruce Greenfield who all blend in and chew scenery when needed.

Hot off the presses and fast-tracked ever since the results of that November 8th, 2016 day crystallized, The Post doubles as a timely historical piece and an obvious Oscar contender.

B

Photo credits go to IMDB.com, thefilmstage.com, esquire.com, and vogue.com.

For additional detailed thoughts on films both small and large, games, and the key moments that comprise each, check out ThatMomentIn.com

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Carol: Movie Man Jackson

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Sparks always fly at the toy store. Therese Belivet (Rooney Mara) is a young department store clerk, working in 1950’s Manhattan, New York. She has a steady boyfriend, Richard (Jake Lacy), who so desperately wants to vacation out to Europe and make Therese his wife. While flattered, Therese desires more and isn’t ready to commit to Rich yet, and still harbors dreams of being a photographer.

One day at the store, she meets Carol Aird (Cate Blanchett), a well-off and elegant woman who has an aura about her that is impossible to resist. Immediately, a connection is born, and the two become inseparable. Complicating matters are Carol’s husband and reluctant divorcee Harge (Kyle Chandler), and their battle over custody of their child. But, love finds a way, right?

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As Keith over at Keith & the Movies opined, from the get-go, Carol is a movie that simply looks polished and primed for awards time. Obviously, this piece is coming days after Carol was shut out of the Golden Globes, but five nominations, even without one win, still means that Carol did its job. Did it do its job in making yours truly care about it? I wish I could say yes.

At the very least, Carol comes outfitted with great and workmanlike acting from the two co-leads, which is to be expected with Rooney Mara and Cate Blanchett. The two play well off of each other, feel believable as character polar opposites, and are extremely brave and fully committed to their roles. It’s hard to find anything to have real gripes with, and if either receive Oscar noms (Editor’s note: Both have), they would be earned.

If one looked to be a stronger lock than the other for their nominated category, I’d say Blanchett has the stronger case. Her character is not only the obvious title of the movie, but she does bring a mysterious magnetism to her that makes Mara dull by comparison. But I suppose that is the point, though I believe Cate would be harder to replace in her role than Rooney. Sarah Paulson also does well, and though Kyle Chandler is awfully one-note, he does the best he can with what is given. The only weak link happens to be Jake Lacy. For some reason, it is hard for me not to see him still as Plop from season nine of The Office.

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Carol does have good, but unmemorable directorial style. Directed by Todd Haynes (I’m Not There), it certainly resembles the early 50’s, from dress to the way subjects look in lighting, as the movie has got that 50’s light jazz club fuzzy haze throughout. Sadly, what it doesn’t have is a story that yours truly ever really cared about.

About 20 minutes in, I couldn’t stop thinking about Brooklyn when watching Carol. Both rely on simplicity and elegance, but only the former also achieves with actual story drama and tension, to go with characters who are written well. As well as Mara and Blanchett are, there’s little desire to see where their connection goes, or even if it will remain. Their stakes never feel that high, and something tangible never truly felt like it was on the line. The B (not so much side) stories with the custody, aunt, etc., unfortunately did little to capture the attention, or round out the leading ladies.

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I really did want to like Carol, and there are pieces of it that absolutely work, namely, the performances. But, as runtime wore on, it became a exercise in viewing nothingness, one that I struggle to find the words for and care less about doing so.

Grade: C-

Photo credits go to hypable.com, fashiongonerogue.com, and elle.com.

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