Peter Bart Column – Deadline

Tom McCarthy is a brilliant writer who has succeeded in drawing audiences to a difficult genre: the newspaper thriller. He won the Oscar for the original screenplay insultMade in 2015, there was an interesting film about it The Boston Globe revealed a cover that included a priest without a frock. His new ABC series Alaska Daily Focuses on a hot New York journalist (Hilary Swank) exiled to cover crime in Anchorage.

McCarthy is masterful at avoiding the genre’s biggest trap: newsmen are not star material (not even Woodward and Bernstein). Most of their work is consumed by significant procedures.

These problems are readily apparent in the new film she said, which is struggling to find an audience. Universal was brave in financing a film that, to a fault, provides a highly sophisticated and factually honest account of a newspaper investigation. Also, the one who needs Tom McCarthy the most.

she said It tells the story of the tireless efforts of two reporters, Judy Kantor and Megan Tuohy (played by Zoe Kazan and Carey Mulligan), to uncover Harvey Weinstein’s systematic pattern of sexual harassment.

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It supported their long and expensive mission The New York Times – A remarkable commitment that helped fuel the #MeToo movement.

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Most of the film’s reviews range from positive to favorable, reflecting an opinion on the animation as well as the film’s direction. As even The Times‘ Admits his reviewer, “The fans All the President’s Men Maybe ask for something a bit zingier—a plot tank or even a shaded parking garage.”

in fact, she said Not only is there a lack of danger, a key element of drama, but there is also a lack of heaviness. Weinstein is not present in the film (the audience briefly sees his back and hears his voice). At one screening, two young filmmakers asked me, “Who is this guy, and why is he so scared?”

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I understand the reasons for the decision: the criminal is in prison for life, and the filmmakers (Maria Schrader’s film director) did not want to respect his presence. Meanwhile, generations of moviegoers may wonder about his threat.

Today, no one wants to even admit to knowing him, fearing accusations of complicity. Even Quentin Tarantino, who made nine films including him pulp fiction, goes to great lengths to avoid his name. “I should have known,” he declares.

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But is it possible to create a thriller without being heavy, even if its presence has disturbed it?

And it was chaos. During his prime, Weinstein lived a fever dream: the great and famous courted him, lavish parties celebrated him, beautiful people surrounded him.

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Yet his appetite for power was matched by a hunger for risk: his big films were always about to collapse. Every major relationship, like his rich deal with Disney, seems on the brink of disaster—usually because of indifference. Always surrounded by sexy people, even sex was apparently about risk, not play.

she said Carefully, even hilariously, follows Weinstein’s self-destruction – and the destruction of others – as it investigates reluctant victims as well as fearful bystanders. Weinstein kept the secrets of his unscrupulous actions and crimes a secret.

Tom McCarthy may one day decide to make a thriller about a nightmare figure like Weinstein. On the other hand, he may decide to relegate it to the dark past. One that we all hope we never have to live through again.



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