MOVIE REVIEW: The Report

Posted on by Aaron White.

“The Report” is a mandatory and sobering look into the numerous unlawful violations and devaluing of humanity that occurred in the CIA’s Detention and Intelligence Program during the United States’ post-9/11 “War on Terror.” Daniel Jones (Adam Driver), a Senate staffer, is tasked with the job of investigating the CIA and uncovering their countless injustices, which tests his own emotional fortitude and belief in the hierarchy he occupies. The film offers an inside look into the dirty game of politics and how distrustful our own government has been about being forthcoming with their own citizens.

Scott Z. Burns, who served as both writer and director, holds nothing back in exposing the truth, while also pacing this story in a fluid manner that will command your attention. “The Report” plays out more like a documentary than a feature film thanks to an engrossing sense of realism and the rock-solid acting performances all-around. Adam Driver is having a tour de force of 2019, and this film just adds to his immense hot streak by way of a commanding performance steeped in determined heroism. Annette Bening, Jon Hamm, Michael C. Hall, Tim Blake Nelson, and Maura Tierney round out an excellent supporting cast and each adds nuance and credibility to the story being expressed on screen.

“The Report” will likely make your blood boil over how the federal government has operated in the name of “protecting our country”, but films like this should be championed for telling the stories that many would rather be kept in the closet.

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Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

What We Learned This Week: December 7-29

Posted on by everymoviehasalesson.

My apologies for the December sabbatical.  Work, holidays, and the awards season are spare time killers…

LESSON #1: WE’VE LOST KEVIN SPACEY— Wow. Just wow. How weird was that “Let Me Be Frank” video this past week? How miscalculated was it, especially on top of the newest charges against him? Contrition instead of glamor would have went a long way. I don’t see how he comes back from this any time soon. Man, I’m going to miss Kevin Spacey.  He was one if the best. Now if we could just lose Johnny Depp next, that would be super. He’s already off the next Pirates of the Caribbean movie.  I’d call that a start.

LESSON #2: STOP MANUFACTURING CONFLICT WHERE IT DOESN’T EXIST— Dramatic license is necessary to make a marketable and entertaining film, but it should be used carefully and even as a last resort. Every time that card is cashed, it chips away at the story’s core and truths. Do that too much and it’s either manipulation or disservice. What was nearly done in On the Basis of Sex is a disconcerting example of forcing strife just to have strife. It’s unnecessary and could have turned things negative.  I’ll never understand how “good for goodness sake” can’t sell on its own.

LESSON #3: EVEN BIG STARS DON’T KNOW HOW TO USE IMDB— To read this recent story of actor Seth Rogen’s (and his famous peers) monumental “discovery” that that gangster film, Angels with Filthy Souls, in Home Alone was a fake movie and not a real one makes me miss Jay Leno’s “Jay-Walking” segments on his old late night talk shows where this kind of lack of reasonable intelligence lives and breathes.  It’s title is likely a homage to the Michael Curtiz’s James Cagney vehicle Angels with Dirty Faces.  Sure, I get how small and inconsequential of a detail it is, but it’s a straight facepalm for me when tools of knowledge are readily available.  It doesn’t take a genius to go on IMDb and see Ralph Foody and Michael Guido’s name in the cast playing Johnny and Snakes.  Home Alone came out in 1990, the same year IMDb began though the noted database didn’t hit the web until 1993.  That’s only really three years of head-scratching, but I guess it’s 28 years of haze and missed problem-solving synapses for Rogen and company.  Alas, this counts as hot topic clickbait in 2018. Any time a celebrity farts with sprinkles, it gets a column and 400 words.

LESSON #4: ROMA IS GOING TO KEEP WINNING— Shine up the “Critical Darling” plaque and start printing the t-shirts.  Alfonso Cuaron’s 1970s domestic drama from his home country of Mexico is winning all of the shiny things that say Best Picture, Best Director, and Best Cinematography on them.  My website’s Awards Tracker shows it running away and hiding in this categories during this main stretch of regional critics groups handing out their annual awards. Sometimes, especially for a foreign film, it is hard to project all of this critical love into audience success and Oscar glory.  It’s not too often the regular, ordinary domestic viewing audience will drop an audible “Huh?” at Best Picture winners. This may be one of those years. The test will be the Golden Globes. Let’s see if Netflix can do its job and give Roma a wider audience, which is its own testy saga to read about.

LESSON #5: YOU KNOW YOUR FILM IS CRAP WHEN EVEN NETFLIX SAYS NO— The newest Will Ferrell-John C. Reilly teamup Holmes & Watson had bomb written all over it from the start.  First, the marketing didn’t help the effort, looking like one of those struggling comedies where all of the good jokes are in the trailer and not in the two-hour movie.  Once Sony decided not to screen the film for critics, that should have been the real warning. In a damning second warning, Netflix, which prides itself as the service that will take anything and spend frivolously, actually turned down buying Holmes & Watson from Sony.  Gosh, that’s when you know it’s bad.  That’s like a baseball team trying to trade a pair of pitchers for a bag of balls and getting turned down for even balls.  Good Lord, that’s a bad movie.

LESSON #6: LOOK AHEAD TO SUNDANCE TO THE SUNDANCE FILM FESTIVAL— Robert Redford’s baby turns Park City, Utah into Mecca. We may be looking at the 2019 Oscars, but, without fail, at least one or more future contenders for 2020 will debut there. Here’s the full lineup. From the competition films, keep an eye on Native Son and The Farewell.  Of the bigger-named gala premieres watch for Jake Gyllenhaal’s Velvet Buzzsaw (a new collaboration with his Nightcrawler director Dan Gilroy), Julianne Moore and Michelle Williams in After the Wedding from Moore’s husband Bart Freundlich, and The Report with Adam Driver and Jon Hamm from Soderbergh writing partner-turned-director Scott Z. Burns.  You’ll sound cool if you can say you’ve heard of these films next year.

DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over a year, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the special “Connecting with Classics” podcast program.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.