Meryl Streep | Fast Lane Film

In today’s climate, fake news and misinformation abound. Now more than ever, we should be able to rely on the press to disseminate truthful information. The Post hearkens back to a time in American history when the public still had trust in the fourth estate, and news publications prided themselves as gatekeepers: the last line of defense between the average citizen and a (potentially) corrupt government.

The Watergate scandal has been well-documented, but some may be unaware of the precursor to that tumultuous time, when public trust in our nation’s highest office previously began to be eroded. Incomparable director Steven Spielberg (Bridge of Spies) brings us The Post, an account of The Washington Post’s controversial publishing of The Pentagon Papers in 1971. Initially the classified information was brought to light by The New York Times, but The Post published a lengthier excerpt shortly thereafter. Specifically, The Pentagon Papers were a detailed report written by the Department of Defense revealing that the U.S. was essentially involved in a war that it knew it could not win. At least four administrations, including Kennedy and Johnson – had not been truthful about the Vietnam War with the American public – while still sending our young people off to die in a foreign jungle.

Tom Hanks (Sully) stars as editor Ben Bradlee, while his boss is owner Kay Graham (Meryl Streep, Ricki and the Flash), whose father owned the paper before her. In a sign of the times, her father willed the paper to his son-in-law and Kay’s husband rather than to his own daughter. This apparent invisibility in male-dominated spaces would require Kay to assert herself in courageous ways, and the film’s subtle depiction of Graham’s timidity in that sphere was spot-on. The strength of The Post is two-fold: Spielberg masterfully impresses upon us the weight of the classified information, and lends an equally deft hand to the agonizing dilemma with which Graham is faced: to publish or not to publish?

It was interesting to see an iconic newspaper such as The Washington Post depicted as a fledgling underdog but remember this was before Woodward & Bernstein. Hanks and Streep were effective, with the former showing the dogged tenacity of a grizzled vet and Streep delivering a quietly brilliant performance. Some Hollywood names are all hype, but Streep is as good as advertised. Kay Graham could’ve been imprisoned for publishing The Pentagon Papers, but she did so anyway, in bold defiance of the male members of the Board of Directors, blazing a new trail for the paper and positioning it as a bastion of truth through diligent investigative reporting.

The Post was deliberate, sharp and compelling. Spielberg, Hanks, and Streep elevated the film by virtue of their presence/involvement alone, which was enough of a draw for me. The accolades are well-deserved. I also enjoyed the limited screen time and supporting performances from Carrie Coon (Gone Girl) and Matthew Rhys (Burnt). My only criticism of the film is less of a ‘ding’ and more of an observation. It’s an important film but it’s not an exciting movie, and for that reason I recommend this movie to those who are fans of Hanks and Streep and to those who try to check out the Oscar contenders every year. I enjoyed The Post and hope it’s indicative of the films to come in 2018.

Grade: A-

The family unit is a societal and cultural structure ingrained in most of our lives. Every family has its quirks, and every family deals with both tragedy and triumph. Families endure everything from illness and death to incarceration and addiction. It’s the love and the loss that makes the world go ‘round, and no family is immune from heartache or difficulty. Moreover, there are common threads found in every family, regardless of class or culture.

For example, even though we love our mothers to death, most people can agree that there are times when you simply want to say, “Shut up Ma!” You’d never say it, but mothers have a knack for speaking their minds unabashedly – much to the chagrin of their children. But we can’t choose our family, and most of us love our relatives for better or worse. In August: Osage County, director John Wells (The Company Men) explores familial themes through the relationships and trials of the Weston family, a dysfunctional Midwestern clan.

Beverly (Sam Shepard, Mud) and Violet Weston (Meryl Streep, The Iron Lady) are parents to three adult children, though the family unit hasn’t been intact since the girls came of age. Beverly is a functioning alcoholic, and Violet is a pill-addicted shrew. She is suffering with Cancer, but her sharp tongue tempers any sympathy. The eldest daughters Barbara (Julia Roberts, Mirror Mirror) and Karen (Juliette Lewis, Due Date) moved away and haven’t looked back, while youngest daughter Ivy (Julianne Nicholson) remained behind as caretaker. The opening scene is jarring, with Streep diving headfirst into the role. It’s so bad it’s good – her character is suffering and it’s uncomfortable to watch, but Streep’s performances always seem like a master class.

When a shocking tragedy reunites everyone, curious family dynamics are revealed. There’s sibling rivalry, buried secrets, infidelity, sexual taboos – you name it. It might sound salacious and melodramatic, but realism permeated the film. The characters’ problems were real, not contrived. I could relate to the daughters’ frustrations as their mother offered well intentioned but unsolicited advice that went far beyond the pale.

I’ve been making the effort to see most of the Oscar nominees, and August: Osage County has two nominations for Best Actress (Streep) and Best Supporting Actress (Roberts). The veterans didn’t mail it in here, and I’m sure they are in strong contention in their respective categories. The entire cast delivered, with Benedict Cumberbatch (The Fifth Estate) and Margo Martindale turning in surprisingly honest performances. This is the type of movie that doesn’t rely on gimmicks, but strength of script and the dramatic talents of a laudable cast. I was most struck by the film’s sense of truthfulness. I almost felt like a fly on the wall, and the realism underscored the film’s effectiveness. My only minor complaint is that the setting felt static, with most of the movie happening in one environment. But I’m nitpicking. Bottom line: an understated but memorable film with strong performances from seasoned veterans and supporting cast alike. Grade: B+