The Post Movie Review is Anything But Fake News


It takes, on average, a capacious 300 days for a wide release film to be accomplished. In such voluminous time, I could earn a raise, find a girlfriend, travel the world, and then watch all nine seasons of 24 twenty-four times and still have time to spare. Yet Spielberg spurred a timely and timeless political allegory in a mere 43 days, a feat that only Ridley Scott could contest. And who better to be at the helm of a star studded felicitous drama than the king of entertainment Steven Spielberg, one of the few directors working today whose name alone will rally audience members of all shapes and sizes into the nearest Cineplex. The story itself may have taken place decades ago (1971), however, it treads all too familiar territory, as it too has a thing to say about the president today. With the press being under siege, the first amendment seems to progressively flatter with becoming an inutile past-time. As twitter posts speak volumes on the alienation of the freedom of speech and standing up for what you believe, 'The Post' reminds us why we have the press, opinions, and equality, and it may just have you exultant in yourself and America, the home of the free and the brave.

This truly is a director working in a culminating time in his career. The maturity seen here from the director of masterpieces 'Saving Private Ryan', 'Jaws', 'Schindlers List', and 'ET' is unprecedented. Vital conversations are greeted with the same magical tone that has become normalcy in Speilberg's work, mirroring the dreamlike intensity and fervor seen when a friendly alien soars on a bike over the moon or in flustering adventure sequences accompanied by hair-raising imagination of man verse dinosaur. In retrospect, this political thriller may have come off as a bit spruce and schematic but it notches its ideas with clarity and subtlety traversing the directors past historical work with a relevance that will stand the test of time.

'The Post' tells a familiar story of the Pentagon Papers, and how The Washington Post acquired and submitted the secretive story of the Vietnam War. Primarily focusing on the proprietor of the press Katherine Graham (Meryl Streep), and senior editor Ben Bradlee (Tom Hanks), we delve into moral tale that has the weight of history on the two's (and their disparate crew) shoulders. Throughout the near two hour run-time, we can truly get a sense of the way things once were. Take for example the way Streep's character is presented to the audience. As she restlessly is bombarded by male dominance, the camera greets her with high angle shots and the men around her with frivolous disrespect. Yet in the films pivotal scene Streep is addressed with a low angle shot as she decisively pierces the same posh and egotistical men with a prowess only the three-time Oscar winner could helm. The at times respectful men, Tom Hanks, Bob Odenkirk, David Cross, and Michel Stuhlbarg carry a distinct cliche silvery quality about them as white collar worker journalists who are equally fascinating and lively. Here, the characters are as direct as the story. As well as the brilliant cinematography and score that never breaks character and is always moving.

It's incredible and refreshing to view a film in 2018 that does without paralyzing subplots. Our curiosity never lingers, as we are fully engaged in something that was apart of all of our lives so many years ago. It delivers on a sentimental time pre I phones and laptops when my father would wake up and relish a cup of coffee and the paper as he was fed the worlds significant source of information. Although it has bits of sweet nostalgia, the majority of its themes are identifiable in today's turbid climate. As the press is under attack more than ever, and women continue to be mistreated, Spielberg reminds us that there is hope, that it's finally time to say "times up".