The Post movie review

For inSing

THE POST

Director : Steven Spielberg
Cast : Meryl Streep, Tom Hanks, Sarah Paulson, Bruce Greenwood, Bob Odenkirk, Tracy Letts, Bradley Whitford, Matthew Rhys, Allison Brie, Carrie Coon, Jesse Plemons, David Cross, Zach Woods
Genre : Biography/Drama/Historical
Run Time : 1h 56 min
Opens : 18 January 2018
Rating : PG13

         Every awards season, there are bound to be at least a few ‘big important movies’ – films based on true events that have a timely relevance, boasting pedigree in front of and behind the camera. The Post ticks all those boxes.

It is 1971. The New York Times runs a story about how the U.S. government has been lying about the Vietnam War to the public, based on leaked clandestine reports which document the ongoing war, going back over 20 years. These reports were compiled on the instructions of Robert McNamara (Bruce Greenwood), the former Secretary of Defence, for academic study.

Katherine “Kay” Graham (Meryl Streep), the first female owner of The Washington Post, is about to publicly list the paper. While the Initial Public Offering will broaden the Post’s reach, Graham also fears losing the control entrusted to her by her late husband, who succeeded Graham’s father as the owner of the paper.

President Nixon and the Attorney General file an injunction against The New York Times, taking the paper to court over the story. Washington Post editor Ben Bradlee (Tom Hanks) sees the opportunity to dig further into the story. Assistant Editor Ben Bagdikan (Bob Odenkirk) tracks down the source, former analyst Daniel Ellsberg (Matthew Rhys), and procures more than 4000 pages of the Pentagon Papers. Graham must choose whether to publish, at the risk of her and Bradlee being imprisoned, and with the paper at stake.

The sitting President of the United States has made no secret of his disdain for the press, branding any outlet which runs stories unfavourable to him as “fake news”. This climate prompted Steven Spielberg to rush The Post into production, and he made this film while his next movie Ready Player One was in post-production. The Post makes a statement about the importance of the freedom of the press, but perhaps it makes that statement a little too obviously. “We have to be the check on their power. If we don’t hold them accountable — my god, who will?” Bradlee exclaims, in one of several lines that spell out what the film is about.

Because The Post is made by people who more than know what they’re doing, it gets a lot right. Spielberg’s regular cinematographer Janusz Kaminski, composer John Williams and editor Michael Kahn (with additional editing by Sarah Broshar) do their usual fine work. The movie looks and sounds like how one would expect a 70s-set political thriller to look, and the setting feels authentic – complete with a multitude of unfortunate hairdos. While the first half of the film can be somewhat dry, things get genuinely thrilling as the movie heads towards an exciting conclusion. The stakes are clearly established, and it’s clear that the decisions the characters must make are consequential ones.

Behind the scenes, there’s the success story of Liz Hannah, for whom every aspiring screenwriter’s dream came true: her first screenplay was made into a film by Steven Spielberg. Josh Singer, who won an Oscar for co-writing Spotlight, rewrote Hannah’s script. Hannah had long been fascinated with Graham, and the writer’s boyfriend encouraged her to pen a screenplay about the newspaper heiress.

The Post wants to be a personal story in addition to being a historical account, but struggles with the balance. A scene between Graham and her daughter Lally (Allison Brie) comes off as a slightly awkward attempt to generate emotion while also supplying some backstory.

The Post is at its best when its talented actors are turned loose. Putting Meryl Streep and Tom Hanks in a scene together, regardless of context, is bound to produce electrifying results. The role of Kay Graham is comfortably in Streep’s wheelhouse: a powerful woman grappling with a monumental dilemma. Graham must make her way in a man’s world, facing doubt at every turn. She remains warm and personable even in the face of adversity, and is at once a magnetic and comforting presence.

Hanks has fun, biting into the role with relish. Bradlee is a dogged, persistent editor, who is described at one point as a “pirate”. Bradlee is a little more abrasive than your standard charming, affable Hanks part, and he spars with Graham and other characters throughout the film. Hanks and Streep visibly enjoy playing off each other, and Spielberg brings out the best in his stars.

The supporting cast is first-rate too: Paulson is especially likeable as Bradlee’s wife Antoinette, and gets an excellent scene in which she lays out why she admires Graham as Bradlee seems to dismiss his boss’ predicament. Better Call Saul star Bob Odenkirk is funny and down-to-earth as assistant editor Ben Bagdikan, who flies back to Washington with the Papers safely buckled into the airplane seat next to him.

There’s no denying that The Post is timely and well-made, but perhaps it’s a little too aware of its status as a big important movie. It takes audiences from Point A to B with enough clarity, but perhaps not enough nuance, and it will be hard for some viewers to see past how obviously The Post is calibrated for awards season appeal.

RATING: 3.5 out of 5 Stars

Jedd Jong

Burnt

For F*** Magazine

BURNT

Director : John Wells
Cast : Bradley Cooper, Sienna Miller, Omar Sy, Daniel Bruhl, Matthew Rhys, Uma Thurman, Emma Thompson, Alicia Vikander, Lily James
Genre : Drama
Run Time : 100 mins
Opens : 29 October 2015
Rating : NC16 (Coarse Language)

Can you smell what the Rock(et Raccoon) is cooking? Raccoons are known for foraging for food in the trash, but this drama takes place in the rarefied realm of haute cuisine. Bradley Cooper plays Adam Jones, a former rising star in the Paris culinary scene who crashed and burned due to his self-destructive tendencies. Now clean and sober, Adam is hoping to make a fresh start and earn his third Michelin star with a new restaurant in London. He coerces maître d’ and hotel heir Tony (Brühl) to help him manage the front of house, with his old colleague Michel (Sy) as his sous chef. Adam takes a shine to single mother Helene (Miller), whose talents he feels are not put to proper use. The opening of the Adam Jones at the Langham earns the ire of Adam’s fierce rival Montgomery Reece (Rhys), and Adam has to keep his demons at bay as he strives for that coveted third star. Matters are further complicated by drug dealers to whom Adam still owes a great debt, as well as the presence of his former flame Anne Marie (Vikander), the daughter of Adam’s late mentor Jean-Luc. 

The title ‘Burnt’ conjured up images in this reviewer’s head of an alternate-universe Disney animated film starring a pyrokinetic princess named Elsa. Burnt was earlier named ‘Adam Jones’ and before that ‘Chef’, but that title was taken by Jon Favreau’s 2014 film. Since Chef was the last major narrative feature centred on making it in the kitchens of restaurants, Burnt does invite comparisons with it. Sure, Chef was more than a little self-indulgent, but it did have warmth, soul and earnestness and was clearly a passion project of Favreau’s. Directed by John Wells, Burnt is cynical and formulaic, a rock star redemption tale set in the high-stakes world of choleric chefs smashing plates on the floor and yelling at their underlings. Adam Jones is established as being obnoxious and obsessed, and the underlying message seems to be that if you’re good at something, it doesn’t matter how awfully you treat everyone around you. 
Steven Knight’s screenplay packs in the contrivances and somewhat clumsily attempts to explain kitchen lingo to the layman. There is a joke in which a plastic sous vide pouch is derisively called a “fish condom”, and this joke is apparently funny enough to repeat. This is a slick, well-paced film which paints a tantalising picture of a glamorous world while also emphasising how challenging it is to become a star in said world. Cinematographer Adriano Goldman’s camera glides from one cook’s station to the next, capturing both the frenzied activity and the aesthetically-plated dishes that leave the kitchen. Michelin Guide reviewers are presented as secret agents and everyone is struck by awed panic when they think these critics have arrived. The food, plated by food stylist Nicole Herft, looks very tempting indeed, with celebrity chefs Marcus Wareing and Mario Batali serving as consultants. 
Cooper dons his chef whites again after starring in the short-lived TV show No Reservations, based on Anthony Bourdain’s autobiography, ten years ago. Both Bourdain and the fictional Adam Jones struggled with substance abuse in the past, with Burnt chronicling Adam’s quest to rise from the ashes. Cooper is charismatic as usual and gets to break out the French (both Français and swearing), but the character is aggressively unlikeable. The film doesn’t try to make his driven nature endearing, explaining it away with a tragic back-story and everyone around Adam makes concessions for him because he’s that talented a chef. The film’s attempts to humanise the character come across as treacly and manipulative. It’s a character who’s difficult to root for, and this is supposed to be charming in and of itself, when it isn’t at all. 
Cooper is backed up by a good supporting cast, though the characters aren’t drawn with too much depth. Brühl is an endearingly if cartoonishly prickly fussbudget as Tony. There’s an obvious homoerotic subtext between him and Adam that is acknowledged but of course, played very safe. Instead, Adam’s love interest is Miller’s Helene, marking a reunion for the American Sniper co-stars. The film goes the eye roll-inducing route of having Adam treat Helene condescendingly, even humiliating her in front of the other kitchen staff, but Helene eventually warms to him because he’s just that sexy. It seems that the main purpose Sy serves is as a volley partner for Cooper to bounce his French dialogue off of. Rhys’ portrayal of the chef whom Adam is at loggerheads with is stops a safe distance short of being the stereotypical bully, though it does lack nuance. Vikander may be one of this year’s breakout stars from her roles in Ex Machina and The Man From U.N.C.L.E., but she gets really little to do here as the one that got away. Emma Thompson is called upon to dispense gnomic advice as Adam’s therapist and Uma Thurman shows up in what is essentially a cameo as a food critic. 
After Gordon Ramsay’s fiery temperament has been ingrained into popular culture, at this point, it seems like a movie about a chef who’s quiet and calm and treats his co-workers politely would, ironically enough, be more interesting than a film about an unstable hair-trigger culinary wunderkind. Cooper is watchable, but no matter how strongly the movie wills it, it’s tough to get in his corner. It’s a “rise-fall-rise” narrative with few twists and additions to the formula, but if good-looking people and even better-looking food is what you’re after, Burnt has got you covered. 
Summary: We’ve gotten through the bulk of this review without any corny food metaphors, so allow us this indulgence: Burnt is lukewarm at best. 
RATING: 2.5 out of 5 Stars
Jedd Jong