Episode 205: Bombshell

Potentially lost in the shuffle of big-name releases this Christmas is one of the most important films of the year, and also one of our favorites. We chat about this riveting story of toxic sexism and how brave women at Fox News took down its infamous sexually abusive CEO. This slick, entertaining film is so much more than just a history lesson, though. It is first and foremost a story that gave us perspective, and with that plenty to talk about.

Bombshell Review – 0:01:32

The Connecting Point – 1:15:12

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MOVIE REVIEW: Bombshell

Once upon a time… in Arkansas, I grew up wanting to be a journalist. And specifically, a journalist that covered politics. I ran for school government, closely followed every election, was downtown partying in the streets of Little Rock when Governor Bill Clinton was elected President, and even volunteered on a state Senator’s successful campaign. Plans went askew, though, and somewhere after 9/11 the political discourse became too volatile and upsetting for me, so I began to tune out. For the past decade, I’ve only mildly followed the news and my awareness of major scandals was entirely through the lens of social media. So going into this film, I shockingly was ignorant to the story that “Bombshell” tells, but I’m sure glad that is no longer the case.

“Bombshell” isn’t directed by Adam McKay, but you’d be forgiven for thinking it was. A major reason why is that writer Charles Randolph (who won an Oscar for writing McKay’s best film, “The Big Short”) employs much of the same fourth-wall-breaking dialogue that has become a McKay signature. Director Jay Roach kicks off “Bombshell” with an entire segment of just this – featuring Megyn Kelly (Charlize Theron) giving us a tour of Fox News and an explanation of how the station operates. It’s an engaging way to introduce the audience to several characters and an important background for understanding the structures of power that exist in this Trump-friendly media empire. Roach shows more restraint than McKay after that, though, and settles into a much more traditionally fluid narrative.

The true story being recounted here is a #MeToo nightmare revolving around a culture of sexual abuse and harassment at Fox News that started at the top with CEO Roger Ailes (John Lithgow) and led to a misogynistic work environment for the women employed there. Female employees were regularly subjected to insults from Ailes, promoted based on their appearance and/or willingness to participate in coerced sexual favors, and expected to show as much leg as possible during broadcasts. Frankly, it is disgusting to watch occur, even in this dramatized manner, and many viewers will likely cringe while relating to the dialogue and power games on display that they may have witnessed themselves. For others, it will hopefully be eye-opening to the behavior women still face in many workplaces across America. Lithgow plays Ailes brilliantly, as the slick-talking untouchable snake of an executive he was. He is creepy and rage-inducing, and it’s easy to cheer for his eventual downfall that is coming.

To bring down Ailes and the toxic culture at Fox, it took many brave women speaking up and risking their careers and reputations. The story in “Bombshell” centers on three of them: two highly-regarded television journalists, Megyn Kelly and Gretchen Carlson (Nicole Kidman), and Kayla (Margot Robbie), who serves as a composite character to represent the experience new female employees went through when trying to climb the ladder of success at Fox News. Over the course of the film, Carlson’s initial lawsuit looms over Ailes, and we experience the struggle of women trying to fight back against men of power, with Kelly’s backing being critical to Carlson’s cause. As I mentioned earlier, it is not always easy to watch what these women endured. Roach took great care to present as detailed of a view of what it was really like at that time as possible, including troubling scenes showing women who supported Roger Ailes despite his blatant harassment.

Theron is incredible in her role as Kelly, fully transforming her voice and facial structure via the use of several prosthetics. It’s a committed performance and one that carries the film, as she tries to hide the emotional weight of what it costs for her to come out in support of Carlson against Ailes. Kidman and Robbie, though, are also amazing, providing two additional viewpoints from which to understand the damage being done. All three women portray both the vulnerable and strong parts of their characters incredibly well, and I found myself feeling heartbroken and angry for them.

If you enjoy costuming and production design, those are on point, as well. The costumes are more than just for looks as they play a direct role in how women were judged in the Fox culture. The production design is slick and shiny, just as you’d expect a newsroom to be, and the editing is likewise done through efficient cuts that feel akin to a news broadcast. What I’m trying to say is that “Bombshell” is the total package. It is an Oscar-worthy film, led by some of the best performances of the year, with strong technical elements, and it tells a very important story from the right perspective. In the end, what Carlson and Kelly courageously did will hopefully be inspirational to women everywhere, and provide them the strength and encouragement to stand up against harassment in their own lives. As for men watching, well, you either stand against it with them or you’re part of the problem. And for me? I may not ever end up with that dream career in journalism, but I now have two new heroes in the field, and I think that you will too when you see their story.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 189: About Time

For September’s Donor Pick, our Patrons chose this sweet Richard Curtis film about time travel. We enjoy discussing what makes this particular romcom unique and why we felt as deeply about the relationships around the central characters as we did the primary romance.

 

About Time Review – 0:01:19

The Connecting Point – 1:01:07

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Episode 178: Once Upon a Time… In Hollywood

Once upon a time on Feelin’ Film, we gathered to discuss a new Quentin Tarantino film that shocked us not with its violence and exploitative nature, but with its sentimentality and unique marriage of fictional story with alternate history.

Once Upon a Time… in Hollywood Review – 0:01:08

The Connecting Point – 1:15:20

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MOVIE REVIEW: Once Upon a Time… in Hollywood


 

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Mary Queen of Scots


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 096: I, Tonya

This week we start our two-week long celebration of the 2018 Winter Olympics by chatting about I, Tonya, the new mockumentary style film from director Craig Gillespie. The film seeks to evoke a sense of empathy for Tonya Harding (we think) and establish some background about her upbringing and life both before and after the memorable attack on fellow skater Nancy Kerrigan that she is forever tied to. We talk through our feelings about the film’s tone and whether or not its constant depiction of abuse was effective or just exploitative, as well as much more.

What We’ve Been Up To – 0:01:11

(Both – Favorite Winter Olympic Sports)
(Aaron – Peter Rabbit)
(Patrick – Under the Sun)
(Both – Super Bowl LII Movie Trailers)

I, Tonya Review – 0:37:56

The Connecting Point – 1:27:04


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Music: Going Higher – Bensound.com

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MOVIE REVIEW: Peter Rabbit

PETER RABBIT (2018)

GOING IN

Oh, January. According to Box Office Mojo, there is exactly one animated film among the Top 100 grossing of all-time to release in what is widely considered the dumping ground month for film studios. Extend that to the Top 200 and you find only three films released in January. Let’s just say this doesn’t provide a huge amount of confidence in Peter Rabbit‘s breakout potential. That being said, despite my little to no interest in this live-action/CGI animated adventure, Columbia Pictures does have a history of putting out some solid animated films (Arthur Christmas, Cloudy With a Chance of Meatballs, Open Season, and the Hotel Transylvania series). I also had little to no interest in another live-action/CGI film this January. That movie, Paddington 2shocked me by being utterly fantastic. And so, Peter Rabbit. Here’s hoping for a hopping good time, but expecting nothing close.

1 Hour and 33 Minutes Later.


COMING OUT

New rule: stop underestimating British comedies.

Early in the film, a narrator voice-over tells us that Peter Rabbit is “the tale of a rabbit in a blue coat with no pants.” That simple description may be true, but much like the film’s trailers, it says nothing about the emotional depth to be found within. Sure, the movie about talking animals battling with a human over control of a garden is funny as it should be, but it’s also got a lot of heart, and that is what elevates this one from good to to great.

Will Gluck’s writing in the film is wonderful. At first, the reckless and prideful Peter (James Corden) appears to just want supremacy of the garden from Mr. McGregor (Domhnall Gleeson). After all, despite it being a great source of food, couldn’t the rabbits move to somewhere less populated and with more accessible sustenance that wasn’t littered with traps? But as the story progresses, Peter’s underlying motivations are slowly revealed to be more emotionally driven, and his relationships with his family and local animal loving neighbor Bea (Rose Byrne) grow into ones that have some genuine depth. The film also uses its entertaining battles between rabbit and man to make a great point about bullying and the escalating violence it can cause. It’s not all feels, though. The humor Gluck weaves throughout the narrative comes in many different forms. There is social commentary (brief jabs are taken at electronic device addiction and the growing trend of everyone being allergic to something), fourth-wall breaking, and some great meta moments. All of the jokes feel smart and current in a way that’s different from typical American animation. Maybe I’m just a sucker for British wit, but if you are too then you’ll love what Gluck has done with this script.

The music in the film also is a major positive. It’s musical choices work great and a running gag with some singing birds definitely is a highlight. Visually, the film looks great. Colors are crisp and bright. The rabbits look appear appropriately cuddly. The interaction between live-action and CGI is fantastic, too, with Gleeson and Byrne both doing a great job of selling that they’re really communicating with talking animals. Gleeson in particular is a joy to watch and I’ve decided this type of role is where he shines most. He’s easy to hate while at the same time giving you enough charm that you feel like there’s something there to love, which is exactly what was needed for Mr. McGregor. Both he and Byrne seem to really be enjoying their roles an having a ball.

This all isn’t to say that the film doesn’t have issues. Structurally it hops around at times and is a little bit of a mess. And even though there is an attempt to round out Peter’s family with unique personalities, there’s just not enough time to develop them in a deeply meaningful way. Peter Rabbit also isn’t particularly memorable. While the emotional beats work while watching they aren’t something you’ll be considering for hours and days afterward. Still, these and other minor quibbles aside, the film is just so much fun that it overcomes them and results in a very entertaining experience.

VERDICT

Peter Rabbit isn’t by any means a perfect film. But like Paddington 2, when compared to non-Pixar/Disney American animation it really shows that there is an amazing alternative in animated comedy for audiences to focus on and celebrate. This is a film that is short, sweet and smart with some great messages about family and friendship all while being one of the most laugh out loud hilarious experiences I’ve had in a theater in ages. Its choice to go deeper than the surface by touching on themes of owning up to mistakes and forgiveness turn it into more than just a funny action adventure, and instead make it one of the better animated films to ever be released in January. Grab your blue jackets and take the family to this fun romp through the garden!

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.