Post by Ryan_MYeah on Jan 16, 2018 21:47:22 GMT
Spielberg announces, casts, films, and edits a great movie in less than a year. If that isn’t talent...
Steven Spielberg has quickly and recently made a great name for himself with verbose films dealing with boardrooms and secret deals, both Lincoln and Bridge of Spies seeing him contributing some of the most reserved, and most inspired direction of his career. The Post only further solidifies his strengths in these regards, tackling the weighty political firestorm surrounding the free press in the early 70's, responsible for leaking government cover-ups surrounding the ongoing Vietnam War.
What initially seems like dull subject matter is actually quite engaging, sharing the same shades and point-by-point breakdown of events that co-writer Josh Singer also brought to Spotlight. Making what feels like a great companion piece to All the President's Men, there's great sense of timeliness to the events portrayed in the film that still stands decades later. Time and time again, many have tried to paint figures within the press media as a leech, thriving off of defaming or smearing the name of people in their high positions, all in an attempt to retain relevancy. It's an especially heated issue of debate, when said writers of those stories find themselves growing connections to their topics, forming what could be seen as an opportunistic move for personal benefit for both sides.
But for as much controversy as these issues stir, and as much as those figures may try to smear the name of those "Fake News" outlets, to go so far in silencing those voices says a lot more about the character of that person in power, than any essay cooked up by The New York Times. Even if we may forget it ourselves, reliance on these outlets is still so vital to our daily routine, a crucial tool as a means of expression and free speaking. A tool of objectivity pushing aside bias, cutting straight through the fat to reach the truth, and in the wake of tide-changing events such as the #MeToo movement and the shifting political spectrum, we truly depend on it more than ever.
As usual, Spielberg's directing prowess is on point, with standout notice going to his usual editor Michael Kahn - assisted by Sarah Broshar, whose transitions and jumps to crucial events feel seamless and always flowing, while still giving the large (if sometimes underused) supporting cast a great opportunity to stretch their legs. Although, major kudos go to the big ticket stars, the ever-reliable Tom Hanks able to hit hard and command the room with his presence, as well as Meryl Streep whose own presence is more toned down, but no less commanding in her dedication, welcoming the chance to surround herself with a crew willing to challenge her, rather than idly play "Yes" men to her every decision. Lincoln it may not be, but the finished film is as compelling as any with Spielberg's stamp of quality.
What initially seems like dull subject matter is actually quite engaging, sharing the same shades and point-by-point breakdown of events that co-writer Josh Singer also brought to Spotlight. Making what feels like a great companion piece to All the President's Men, there's great sense of timeliness to the events portrayed in the film that still stands decades later. Time and time again, many have tried to paint figures within the press media as a leech, thriving off of defaming or smearing the name of people in their high positions, all in an attempt to retain relevancy. It's an especially heated issue of debate, when said writers of those stories find themselves growing connections to their topics, forming what could be seen as an opportunistic move for personal benefit for both sides.
But for as much controversy as these issues stir, and as much as those figures may try to smear the name of those "Fake News" outlets, to go so far in silencing those voices says a lot more about the character of that person in power, than any essay cooked up by The New York Times. Even if we may forget it ourselves, reliance on these outlets is still so vital to our daily routine, a crucial tool as a means of expression and free speaking. A tool of objectivity pushing aside bias, cutting straight through the fat to reach the truth, and in the wake of tide-changing events such as the #MeToo movement and the shifting political spectrum, we truly depend on it more than ever.
As usual, Spielberg's directing prowess is on point, with standout notice going to his usual editor Michael Kahn - assisted by Sarah Broshar, whose transitions and jumps to crucial events feel seamless and always flowing, while still giving the large (if sometimes underused) supporting cast a great opportunity to stretch their legs. Although, major kudos go to the big ticket stars, the ever-reliable Tom Hanks able to hit hard and command the room with his presence, as well as Meryl Streep whose own presence is more toned down, but no less commanding in her dedication, welcoming the chance to surround herself with a crew willing to challenge her, rather than idly play "Yes" men to her every decision. Lincoln it may not be, but the finished film is as compelling as any with Spielberg's stamp of quality.