At the same time, part of what rescues the movie from any vestige of preachiness is that it’s framed as a business drama.Streep’s Graham, who inherited the publisher’s mantle after her husband’s suicide, is about to take the family newspaper public, and much is made of the share price: Will it will be .50 or ?That’s a lesson that has rarely needed to be heard as much as it does today.“The Post” is a movie of galvanizing relevance, one that’s all but certain to connect with an inspiringly wide audience (I predict a 0 million gross) and with the currents of awards season.
“The Post,” written by Liz Hannah and Josh Singer in a mode that’s bounding and busy and a little too expository, is a more pointedly utilitarian, less imaginative movie — it’s high-carb docudrama prose rather than poetry.
Tom Hanks, Meryl Streep, Bruce Greenwood, Matthew Rhys, Bob Odenkirk, Michael Stuhlbarg, Sarah Paulson, Tracy Letts, Bradley Whitford, Alison Brie, Jessie Mueller, Jesse Plemons, David Cross, Carrie Coon, Zach Woods.
Steven Spielberg’s “The Post” throttles along in a pleasurably bustling, down-to-the-timely-minute way.
Bradlee, a former pal of JFK’s, also played the game of rubbing elbows with power. The press — the media — becomes greater than the sum of its parts. The Pentagon Papers marked an iconic moment in American history: the press claiming its own freedom to call out the excesses of power. Producers: Amy Pascal, Kristie Macosko Krieger, Steven Spielberg.
But now, disgusted by the lies revealed in the Pentagon Papers, he enunciates the new credo. “The Post” celebrates what that means, tapping into an enlightened nostalgia for the glory days of newspapers, but the film also takes you back to a time when the outcome was precarious, and the freedoms we thought we took for granted hung in the balance. Film Review: ' The Post' Reviewed at Dolby 88, New York, Nov. Executive producers: Tom Karnowski, Josh Singer, Adam Somner, Tim White, Trevor White.