Minisode 036: The Post

We’ve gotten together to talk about Steven Spielberg’s newest film, The Post, a dramatization of the Washington Post’s publication of the Pentagon Papers in 1971, which exposed government secrets and lies about the Vietnam War. With a cast led by superstars Tom Hanks and Meryl Streep, this story of unbiased journalism is extremely relevant and sure to land numerous Oscar nominations.


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Minisode 034: Gremlins

This month’s donor pick choice was kind of a surprise to both of us, but our listeners spoke and we listened, so here we are, ready to talk Joe Dante’s 1984 sci-fi/horror/comedy/camp film… GREMLINS.

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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MOVIE REVIEW: The Post

THE POST (2017)

GOING IN

True story – my dream career for two decades was newspaper editor. Not an astronaut or a doctor or Major League Baseball player. I grew up with a very strong interest in journalism and political science. Had my life taken a different path, perhaps those two subjects would have resulted in college degrees that eventually led me to that desk job at a major paper.

The Post dramatizes the Washington Post’s publication of the Pentagon Papers, which exposed government secrets and lies about the Vietnam War. With a cast led by superstars Tom Hanks and Meryl Streep, and directed by Steven Spielberg, this story of unbiased journalism is extremely relevant and sure to land numerous Oscar nominations. The question is, will it be more All President’s Men or Spotlight? And will it rekindle my dreams or put me at ease about missing out?


COMING OUT

Standing ovation. That’s my initial reaction when the credits start to roll. I simply don’t clap for movies. It feels odd to do so when there is no one present to actually receive the praise being given from said action, but this film was the rare exception that made me want to.

The Post story, I’m ashamed to say, is not one that I was familiar with, but is a piece of history that is vitally important for all Americans to know well. Essentially the Nixon administration and government before him had a pretty bad habit of making decisions based on public perception instead of what might actually be best for the country. There was also a culture of “friendship” between the press and the White House that called into question the bias of reporting. All that was brought into focus, though, when the New York Times first published excerpts of the Pentagon Papers in 1971. After Nixon fails to persuade the NYT to cease publishing, a federal court does so claiming the papers violate the Espionage Act of 1917 due to their classified nature.

This is where The Washington Post, published by Katharine Graham (Streep) and edited by Ben Bradlee (Hanks) comes in. Hanks portrays Bradlee with a staunch patriotism and determination to do what he feels is right, which is always give the public the truth. “The only way to protect the right to publish, is to publish,” he says more than once, as he pushes his team to locate the Pentagon Papers and convince Graham to publish despite the potential consequences. Graham not only must face the risk of her career and freedom, but must do so in a world that where women were not frequently in positions of power. Streep’s performance is inspiring in the way it captures both the spirited strength of Graham as well as her nervous fears. Hanks is also fantastic and the chemistry between these two star-studded actors in a joy to behold.

Spielberg has also assembled an incredible supporting cast around Hanks and Streep. Bob Odenkirk stands out the most as reporter Ben Bagdikian, the man in charge of locating the Pentagon Papers for The Post. His resolve never waivers once and he is the perfect extension of Bradlee’s mantra that freedom of the press must survive because as he says about the government “If we don’t hold them accountable, who will?” John Williams’ score is much more minimalist than usual, but equally effective. It accentuates perfectly those heightened moments of drama with Oscar-worthy speeches, breaths collectively being held as decisions are awaited, and once scene where Spielberg shoots the printing press like it was in an action movie.

VERDICT

The Post features Spielberg’s best work in ages and the timeless greatness of Tom Hanks and Meryl Streep is on full display. This all-star team-up provides the goods in telling an important story about the place of journalism in society and the necessity of checks and balances for public servants. Emotionally speaking, everything works here and comes together into a rousing picture that champions a right which Americans must cling to more than ever today. See it in a theater. See it with your children. As much a vital history lesson as outstanding entertainment, The Post is one of this year’s best films and should not be missed.

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.

What We Learned This Week: November 25-December 2

LESSON #1: NEW YORK WILL HELP STUMP FOR LADY BIRD FOR ME— The New York Film Critics Circle yesterday named Lady Bird their Best Picture and Saoirse Ronan their Best Actress.   I don’t normally trust New Yorkers, but you can take this recommendation salt-free.  There is a multitude of reasons Greta Gerwig’s indie gem is finding itself a winner against larger pedigreed titans.  Go see for yourself why.

LESSON #2: 2018 CAN AND SHOULD BE THE “YEAR OF THE WOMAN” AT THE OSCARS— Patty Jenkins, Sofia Coppola, Gerwig, and Dee Rees could dominate the Best Director category if voters allowed it and, in many ways, rightfully so.  Chaz Ebert wrote an excellent column recently on RogerEbert.com examining the possibilities.  Gerwig has already broken through as the Best Director winner from the National Board of Review this week.  Let’s see the boy’s club pushed to the sidelines for a year.

LESSON #3: THE POST IS GOING TO BE THE OSCAR FRONTRUNNER WITH THE “TIMELY” LABEL ATTACHED TO IT— Each year, there is always one or two Best Picture Academy Award contenders that feels like fateful films echoing the current societal landscape.  With a headliner cast expressing topical parallel challenges in journalism between the past and the present, Steven Spielberg’s The Post is going to create and carry quite the favor with critics and public alike.   Look at its Best Picture, Best Actor, and Best Actress sweep from the National Board of Review.

LESSON #4: CALL ME BY YOUR NAME WILL EARN ANOTHER “TIMELY” LABEL FOR THE WRONG REASONS AND WILL PAY FOR IT ON OSCAR BALLOTS— Paul Bois for The Daily Wire posted a sharp editorial titled “TONE DEAF: Oscar Buzz for Movie About a Romance Between 25-Year-Old Man and 17-Year-Old Boy.”  As well-acted and well-intended as it may be, the verbiage of that headline is what may doom Call Me By Your Name.  Reverborating in an industry crushed by one sex scandal after another each week, I agree with the article and wonder where the widespread support for such a questionable premise of wrongful romance is going to gain favor.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

 

Episode 074: Jurassic Park

We kick off book-to-movie month with arguably the best summer blockbuster ever made. Jurassic Park is one of those special films that evokes such a sense of awe and wonder that it captures the imaginations of adults and children alike. We talk through some of the present themes and reminisce about our own experiences with this Steven Spielberg masterpiece.

What We’ve Been Up To 0:04:47

Jurassic Park Review – 0:20:32

The Connecting Point – 1:14:11

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

What We Learned This Week: June 11-17

LESSON #1: WHEN IMPORTANT DIVERSITY IS IN PLAY, EXTRA HYPE IS WARRANTED— Not understanding the important opportunities for diversity is equivalent to being tone deaf.  Recently some people tried to bash the female empowerment frenzy over the very existence of Wonder Woman, no matter if the film itself was any good.  After its trailer debut, pockets of ostriches with heads in the sand are doing the same with the new trailer for Black Panther and the fervid immediate and early hype from the black audiences.  Let me put it like this when it comes to Wonder Woman and Black Panther: “If you don’t understand why these films are important on principle alone, then you are part of the problem.”  The marketplace doesn’t just need these films, they deserve them.  Their importance assigned by their demographics and fanbases grants them warranted extra hype.

LESSON #2: NEW SOURCES WILL INVADE AWARDS RACES THIS WINTERIndiewire had a nice story recently talking about the Oscar chances of Get Out and Emmy chances of Netflix offerings.  I, for one, am all for it, but early-year films like Jordan Peele’s hit are going to need help coming November and December thanks to good old “out of sight/out of mind” syndrome.  More critics and voters need to keep these films in the conscientiousness of viewers and watchers.

LESSON #3: WHEN STEVEN SPIELBERG CALLS, YOU SAY YES— Speaking of the Oscars, just about everything the legendary Steven Spielberg touches becomes some kind of Oscar nominee or winner.  For his upcoming and fast-tracked December film The Papers (and no, it’s not about supplies from your weed guy), he is multiplying that Midas Touch with having fellow Academy darlings Tom Hanks and Meryl Streep headlining.  If that wasn’t colossal enough, take a gander at the supporting ensemble cast assembled by Spielberg behind Hanks and Streep.  If that’s not an eclectic “Murderer’s Row” of character actors, I don’t know what is.  The Spielberg clout is real.  Get Out and Netflix be damned, but say an early hello to your new Oscar frontrunner.

LESSON #4: STEVEN SPIELBERG APPARENTLY NEEDS TO CALL MORE WOMEN— Well-liked actress and emerging filmmaker Elizabeth Banks attempted to put Steven Spielberg on blast for not ever having directed a film with a female lead.  Her rant, which lead to a public apology, was quickly dispelled when she learned of The Color Purple.  That’s the only film it takes from Spielberg to negate the “never” in Banks’ words, but I think the crux of her argument remains fair.  Even when you add Sugarland Express and the little girl from The BFG, Steven is  more than a shade low in his percentages of female leading roles.  It wouldn’t kill him to rethink that.  Watch him follow in the footsteps of Banks and direct a Pitch Perfect sequel to shut everyone up.

LESSON #5: ARTSY-FARTSY PEOPLE APPARENTLY HATE JARED LETO— Academy Award winner and Suicide Squad actor Jared Leto was recently named the Chief Creative Officer of the film streaming service Fandor, pissing off film snobs everywhere.  Fandor fashions itself as a database for indie films, documentaries, international features and shorts.  Apparently to the high-end cinephiles, Leto has sold out and is not qualified.  People forget before he was Joker, the man won an Oscar and worked with off the beaten path with the likes of Fincher, Aronofsky, Malick, Toback, Mangold, Schumacher, Stone, Niccol, and Villeneuve.  Beyond his work resume, Leto has championed his own broadcast and social platform business VyRt for five years.  Dude, he’s quite qualified.  He’s not going to ruin the place.  In fact, watch it multiple with a driven guy at the helm.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

Episode 023: The Goonies

Hey, you guys! This week’s film was determined via listener vote, and you chose a beloved 80’s adventure movie with plenty to talk about. For one of us it’s full of nostalgia and for the other it’s a totally new experience. But ultimately we both land on common ground in thinking that this is one of the most fun and well done adventure films we’ve seen. It’s a great conversation about how when we view a movie affects our experience, and we hope you enjoy.

What We’ve Been Up To – 00:01:49

Aaron (The Fits)

Patrick (Eight Men Out, Halt and Catch Fire)

The Goonies Review – 00:12:17

The Connecting Point – 00:56:07

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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Guest Spot: Reel World Rewind

Aaron partners with Blaine from the Reel World Rewind podcast to talk about a movie that he loved revisiting, Super 8. Check out the synopsis below:

On this episode of Reel World Rewind:

This month, Blaine kicks of an annual Rewind tradition: Spielberg Summers. But instead of starting with one of the director’s iconic works like JawsJurassic Park, etc., Blaine and Aaron dive into the Spielberg-inspired film Super 8. They talk about the film’s Spielberg-ness and how it wrestles with ideas of love and forgiveness.

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