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Set against the badlands of colonial Australia where the English rule with a bloody fist and the Irish endure, Ned Kelly discovers he comes from a line of Irish rebels—an uncompromising army of cross dressing bandits immortalised for terrorising their oppressors back in Ireland. Nurtured by the notorious bushranger, Harry Power and fuelled by the unfair arrest of his mother, Kelly recruits a wild bunch of warriors to plot one of the most audacious attacks of anarchy and rebellion the country has ever seen. True History of the Kelly Gang 2020 review : I've now written a lot of words about 'True History of the Kelly Gang', but I really don't feel as though I've scratched the surface of this fascinating, complex and shattering film. Using the story of Ned Kelly and his exploits, the film unpacks the concept of Australian myth-making, questions the stories and figures on which we have constricted our Australian identity, and challenges the ideals of Australian masculinity. 'True History of the Kelly Gang' is a magnificent symphony of chaos and contradiction, fury and fear, confusion and clarity, love and revenge, compassion and violence. It left me stunned and speechless, my brain ringing with the sheer scale of it. This is yet another great film digging into the fabric of who we are as a nation and what we have done to get here - in this case, the myths we have constructed to explain and justify the best and worst of ourselves. Justin Kurzel has delivered a remarkable and singular film, as arresting as it is provocative, and already one of the best of the year. - Daniel Lammin
Read Daniel's full article... https://www.maketheswitch.com.au/article/review-true-history-of-the-kelly-gang-a-magnificent-deconstruction-of-the-great-australian-antihero **_Is the truth relevant in myth-making?_**
>_At the end of the day the fence were still not complete but my family had witnessed my new strength and they I could be the man._
- Peter Carey; _True History of the Kelly Gang_ (2000)
>_And here is the thing about them men they was Australians they knew full well the terror of the unyielding law the historic memory of UNFAIRNESS were in their blood and a man might be a bank clerk or an overseer he might never have been lagged for nothing but still he knew in his heart what it were to be forced to wear the white hood in prison he knew what_ _it were to be lashed for looking a warder in the eye and even a posh fellow like the Moth had breathed that air so the knowledge of unfairness were deep in his bone and marrow._
- Peter Carey; _True History of the Kelly Gang_ (2000)
Based on Peter Carey's 2000 novel, written for the screen by Shaun Grant (_Berlin Syndrome_; _Jasper Jones_), and directed by Justin Kurzel (_Snowtown_; _Macbeth_), ironically enough given its title, _True History of the Kelly Gang_ is a film about lies. More specifically, it looks at the pivotal role lies play in cultural myth-making, how every myth is a fiction, a subjective interpretation and reframing of real events, oftentimes with the goal of inflating a person's reputation, oftentimes with the goal of diminishing it. Importantly, as with the novel on which it's based, _True History_ is a work of historical fiction which invents characters and incidents, weaving such elements into what we know of the facts pertaining to Ned Kelly. Easily the best filmic depiction of the Kelly Gang, _True History_ is rugged, fierce, bleak, sexually ambiguous, and psychologically exhausting, with universally exceptional acting and some quite stunning cinematography. Acknowledging Kelly as an important symbol in Australian cultural identity, the film occupies a kind of middle ground between condemning him as a sociopathic murderer and celebrating him as a passionate freedom fighter. It takes itself very seriously, which will probably put off those looking for more casual entertainment along the lines of Gregor Jordan's rather bland _Ned Kelly_ (2003), but if you're in the mood for something complex, challenging, and esoteric, you could certainly do worse than _True History_.
Divided into three sections ("Boy", "Man", and "Monitor"), the film features a voiceover throughout wherein Kelly is writing a memoir for his daughter, so she can know the man behind the myth. In 1867, 12-year-old Ned Kelly (an exceptional Orlando Schwerdt) lives with his mother Ellen (a ferocious Essie Davis), his perpetually drunk father, John 'Red' Kelly (Gentle Ben Corbett), and his two younger siblings. Life is hard, and things aren't helped by Sgt. O'Neill (Charlie Hunnam proving once again he can't do accents; I think he's supposed to be Welsh), who Red allows to have sex with Ellen. Although she's fiercely protective of her children, she despises Red, as does Ned himself, to whom she is extremely close (yep, there's an Oedipal undertone to the first act). When Red dies in prison, Ned steps up to become the man of the house, but Ellen sends him to travel with, Harry Power (a Falstaffian Russell Crowe), a notorious bushranger. However, when Ned discovers that Ellen sold him to Power, he runs away. Years later, Ned (a very tactile George MacKay) returns and tries to earn an honest living as a bare knuckle boxer. After meeting the hedonistic Constable Alexander Fitzpatrick (a slimy Nicolas Hoult), Ned is introduced to Mary Hearn (the always exceptional Thomasin McKenzie), with whom he begins a relationship. Although he and Fitzpatrick are friends, when the womanising Fitzpatrick sets his sights on Ned's sister, Kate (Josephine Blazier), the friendship breaks down, and Kelly finds himself on the run, accompanied by his close friend and possible lover Joe Byrne (Sean Keenan), his brother Dan (Earl Cave), and Dan's friend Steve Hart (Louis Hewison). Recruiting young men fed up with British colonialism, Ned forms the Kelly Gang, and as their reputation grows, the authorities determine to hunt them down at all costs.
Much of the detail in _True History_ is fabricated, as it was in the novel. For example, Mary is a fictitious character, and as far as we know, Kelly had no children. The film's Fitzpatrick is also quite different from the real person, whose reputation has seen some improvement in recent scholarship. Additionally, Fitzpatrick had no relationship with Kate. The depiction of Ellen is also fictitious – in the film, she's a fiercely proud pillar of the community, but in reality, she was disliked and most people shunned her. Another fabrication is the Kelly Gang's tendency to proclaim themselves, "_The Sons of Sieve_". This is a reference to a fictitious Irish secret society working to undermine the English occupation of Ireland. When Kelly learns he's a descendent from one of its founders, it stokes his nationalist pride, and the Gang adopt it as their battle cry.
Perhaps the most controversial fictional element concerns Kelly's sexuality. To the best of my knowledge, there has never been any scholarly suggestion that Kelly was anything other than heterosexual, but in both the book and the film, he's presented in a manner that seems to hint at bisexuality. The scene where we first meet Joe, for example, sees him and Kelly playfully wrestling for a book, a scene which ends with Kelly lying atop Joe, their faces only centimetres apart. Later, Kelly and Fitzpatrick sit beside one another in a brothel, Fitzpatrick completely naked, Kelly stripped down to his underwear, and the two have a very frank conversation during which the homoerotic chemistry is undeniable. And for what it's worth, while we're on this subject, it's also hinted that Fitzpatrick might be into bestiality. Whatever you want to make of the validity of these undertones, what they accomplish in the context of the film is to challenge, if not necessarily undermine, the rugged heteromasculinity of the Kelly myth.
The issue of lies, myth-making, and fabrication is introduced immediately, with the opening caption telling us, "_nothing you are about to see is true_". Subsequently, one of the first lines of dialogue is Kelly warning his daughter about people who will "_confuse fiction for fact_", saying that the only account she can accept as true is his own, because "_every man should be the author of his own history_". Of course, Kelly doesn't stop to consider that a first-hand account is just as susceptible to exaggeration, embellishment, and outright lying as something written by a third party. And the irony in all of this is that in real life, Kelly never wrote such a manuscript for his daughter because he never had a daughter, thus creating more layers atop the dichotomy of calling the film "_True History_" and immediately asserting none of it is true.
The film is well-aware how legends are propagated throughout communities, especially oppressed communities, and how such legends eventually acquire mythical and/or symbolic status. In this process, truth is rarely a priority; as newspaper editor Maxwell Scott (Carleton Young) says in John Ford's _The Man Who Shot Liberty Valance_ (1962), "_when the legend becomes fact, print the legend_". _True History_ is partly about how the legend of Ned Kelly became 'fact'.
One of the points of Carey's novel, and something very much reproduced in the film, is the malleability of history, the notion that history isn't a fixed monolithic thing, but that it changes with each act of interpretation. For example, the official record states that Kelly's last words were "_such is life_", but historians have often questioned the veracity of this claim. In both the novel and film, Kelly doesn't say this, in fact, he doesn't say anything, maintaining a steely silence to the end. In this sense, both Carey and Kurzel reject the official record and go with a different version, illustrating the protean nature of history. Of course, this is a theme throughout the film, with the prime example being Kelly's status as a symbol, the importance of which grows and proliferates in a manner relatively divorced from actual events. As Joe says to Kelly, "_you can fool the others into believing you're Jesus Christ, but I know that none of this is work of God_", or as Fitzpatrick taunts him, "_you're not the man you pretend to be_". This is also something touched on in Mel Gibson's _Braveheart_ (1995), a film with a _very_ tenuous relationship to history. At one point, there's a montage of various people mythologising William Wallace (Gibson), in effect granting him ever more ridiculous superpowers, and later on, Wallace himself jokes about some of the things with which he's been accredited. It's the same idea in _True History_, although Kurzel handles it with a lot more gravitas.
What's especially interesting in all of this is that the film sits somewhere between the two extremes of Kelly scholarship – a hero for the common man or a psychopathic murderer. For example, although he goes some way to explain Kelly's violent tendencies, tracing it back to a bad childhood and years of British oppression, Kurzel does not shy away from one of the most notorious incidents of Kelly's story – his 1878 murder of three policemen at Stringybark Creek, all of them unarmed, two of them in cold-blood after they'd already surrendered. This incident is depicted in all its squalor and depravity, and forms the content of the film's second-best scene, giving us a thoroughly brutal depiction, blood-soaked, barbaric, and wantonly violent. The Ned Kelly seen here is a savage – he's nothing like the mythical pseudo-Robin Hood of folktale nor the anti-establishment punk played by Mike Jagger in Tony Richardson's _Ned Kelly_ (1970) nor the charming rogue played by Heath Ledger in Jordan's film – he's a violent blood-thirsty sociopath who kills because he enjoys it. In this sense, he recalls the depiction of Dan 'Mad Dog' Morgan in Alfred Rolfe's 1911 film of the same name. Although it's now a lost film, we know from contemporary reviews that Rolfe himself played the titular character, depicting him as dangerously mercurial and possibly insane, both of which we could say about MacKay's Kelly.
Aesthetically, there's a lot to praise here. Alice Babidge's costumes, for example, are anachronistic, but purposefully so, engaging with the theme of the mutability of history, and in any case, there's not a single costume in the film that feels inauthentic to the tone Kurzel is going for. And Babidge works especial wonders in creating the Kelly Gang's infamous bullet-resistant armour. Karen Murphy's production design is also excellent, really capturing the squalor in which Kelly grew up, and contrasting it later on with the opulent surroundings familiar to Fitzpatrick.
Which brings me to problems, of which I found very few. As already mentioned, Hunnam's accent is hilariously bad, but he's only in the first act so it's not too distracting. The film is also a little slow in places, and could perhaps do with losing about 10-15 minutes. Don't get me wrong, the Glenrowan scene is worth the wait, but some viewers probably won't have the patience to get that far, and I have to admit, the narrative did start to drag in a couple of places. And, as I already said, those expecting something in the vein of Jordan's 2003 film will be sorely disappointed (although that's not the film's fault – it's not trying to be akin to previous Kelly movies).
Starkly beautiful, psychologically taxing, thematically complex, this is very much a return to form for Kurzel after the debacle that was _Assassin's Creed_ (2016). Acknowledging the difficulty, perhaps the impossibility, of getting to the reality of such a widely known symbol as Ned Kelly, the film suggests that in the formation of such myths, truth is jettisoned very early. At the same time, it suggests that this may not necessarily be a bad thing – if even history itself is open to reformulation, then why not so with myths? Why not let the legend supersede the fact? Does truth matter all that much when dealing with something as significant as a national mythos? If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com
This was a pretty tough review to write. I had no previous knowledge about Ned Kelly nor his gang. I don't know if this is a well-known story outside of Australia, but I can understand the reasons for its almost non-existent marketing campaign overseas. It will always feel strange when a movie with such a phenomenal cast doesn't get enough advertising. George MacKay is exponentially getting more significant roles, and he's undoubtedly the standout of this film. A genuinely remarkable performance from an actor who keeps impressing me every time I get the opportunity to watch him.
Russell Crowe doesn't have much screentime, but he always commits 100% to his roles, and this one was no exception. I would even presume that he was used as bait to bring in more viewers, but as I wrote above, it doesn't seem like the studio was truly worried about that. Charlie Hunnam (Sergeant O'Neill) continues his streak of good performances, Nicholas Hoult (Constable Fitzpatrick) proves once again that he deserves a lot more chances, and Essie Davis (Ellen Kelly) is terrific as Ned's mother.
Nevertheless, it's Thomasin McKenzie (Mary) who offers the big surprise. She was extremely funny in Jojo Rabbit, but now she shows an entirely different dramatic range. As you might have figured by now, I believe the cast is the best thing that True History of the Kelly Gang has to offer. Justin Kurzel doesn't hold back in setting up a truly realistic environment regarding the period where the movie is set, constantly placing the actors in uncomfortable scenes.
It's beautifully filmed by Ari Wegner (cinematographer), and the score (Jed Kurzel) is also really good. However, I didn't feel invested in the story nor its characters. This was a challenging film to review simply because when I finished watching it, I didn't really know how I felt. It rarely happens, but I was stuck in this place where I couldn't figure out if I enjoyed it or not. I waited a whole day to start this article because I wanted to be sure that I would write a fair review.
With all honesty, I struggled to care about a single aspect story-wise. For more than one hour, the movie feels aimless to me. Ned grows from a kid to a man, his childhood is extremely detailed (Orlando Schwerdt is also great as a young Ned), and everything that ever happened to him or his family is explicitly shown on screen. I simply couldn't find it captivating enough to hold my attention. The last thirty to forty minutes are a lot better, and the ending is impactful, as well as shocking...
But everything lacks that emotional attachment. I cared more about a certain animal dying by being shot than the actual humans. By the way, it's a visually shocking film with tons of unrestrained killing, blood, and all sorts of nudity. If you're sensitive to these aspects, you've been warned. It's a slow-burn where Ned's life is the driving force of the narrative, but I find it very difficult to be enthralled by the experience. It's horrible (and lazy) to write it, I know, but I did find it a tad boring.
Maybe knowing the actual real-life story beforehand would help, I'm not entirely sure. I just want to be clear in my review that I don't feel like I'm the target audience for this movie. It genuinely feels like a film made for people who already know what they're getting into. Either that or the movie really doesn't do enough to bring Shaun Grant's screenplay to life in a compelling manner...
All in all, True History of the Kelly Gang is technically marvelous, and it boasts a phenomenal cast, who all offer amazing performances. George MacKay is a fantastic lead, proving that he deserves bigger roles in Hollywood, while Thomasin McKenzie is the main surprise. Beautifully shot, great score, outstanding production design, and visually shocking scenes create a realistic and engaging atmosphere, but all of this isn't enough to overcome the film's storytelling issues. With a slow pace and an overall lack of emotional attachment to the characters, I struggled to feel invested in any aspect story-wise. Its almost non-existent marketing overseas insinuate that it might not be a movie for someone who doesn't have any knowledge about this real-life Australian gang. I recommend it for its technical attributes, but I can't deny that I'm probably never watching it again.
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After a young mother murders her family in her own house, a detective attempts to investigate the mysterious case, only to discover that the house is cursed by a vengeful ghost. Now targeted by the demonic spirits, the detective must do anything to protect herself and her family from harm. The Grudge 2020 review : If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com
It's a brand new year, which means January gets to be the traditional "trash month" once again. In Portugal, it's actually one of the best months of the year since all of the Oscar-contender films are released (late) during these first few weeks. However, it still contains the formulaic action and/or horror movies. The Grudge, a reboot of a remake (because why not?), is the most recent addition to the group of horror flicks that no one really understands why they were produced.
I was never a fan of the film series, so obviously, I wasn't expecting much from a reboot of a franchise that always looked like a lazily cheap way of filming a few jump scare sequences with no remarkable storytelling. Nicolas Pesce shows some hints of talent regarding his filmmaking skills with some efficiently suspenseful scenes, but the aspect to blame in this type of movies is always the same: screenplay. I can't remember the last film I saw that treated the audience like the dumbest people alive. It truly becomes disrespectful. It's like the producers thought that the target audience for a horror flick was 5-year-old children.
It reaches a point where the movie itself feels like it's being very intelligent in the way it shares plot information. It creates this tense build-up, filled with characters almost dropping a big twist, and then... it's something so evident since the first few minutes of the film. This process repeats throughout the entire runtime. "Here comes a big twist! Are you ready? Watch out! Here it goes... BAM! You didn't saw that coming, did you?!"
Yes. We did. Everyone did. Even the theater supervisor who only shows up for a couple of seconds each half an hour was able to figure out everything that was happening. During the screening, I didn't know if I should laugh due to the ridiculously explicit plot points or if I should be frustrated for being treated like I was totally brainless. Everything about The Grudge feels painfully obvious. I try my best not to think too far ahead. I try not to predict what's going to occur or when a jump scare is going to happen. But this movie is so incredibly generic that I couldn't avoid knowing everything instinctively.
Story-wise or jump scares, it doesn't matter. Everything that Pesce tries to do, it's surrounded by such an aura of predictability that makes this horror film extremely dull. I mean, that's one of the worst feelings one can have while watching a horror movie, right? How can someone feel bored by a film constantly throwing jump scares and "massive" plot points every five minutes? Well, The Grudge was able to accomplish this miracle.
I don't know why The Grudge, as a film series, continues to exist. The first installment, which was itself a remake of the Japanese original, was a surprising box office success. Still, the majority of the audience and critics didn't really like the movie. The consequent theater releases were a disappointment. So, let's do a reboot of the remake, right? Nicolas Pesce seems to be a great filmmaker, he's able to easily generate tension and a dark environment, but such a huge misstep like this can hurt his career. The talented cast tries their best to bring this film to safe harbor, but the absurdly obvious, generic, formulaic, cliche story sunk the movie pretty hard. Its lack of surprising features, the extremely predictable jump scares, and the complete disregard for the audience, treating the viewers like the dumbest people ever, make The Grudge one of the worst horror films of the last few years.
Rating: D The fact that this is how my 2020 film-watching career starts seems like a **REAL** bad omen for this year.
Update: Oh boy.
_Final rating:★ - Of no value. Avoid at all costs._ Despite a fine cast, this latest entry (and quasi reboot) is pretty dull. I did like some of Pesce's direction and shots, but far too many of the cliched zingers from these supernatural-horror films. Probably won't remember very much about this in a few days (if not less)... **1.75/5** Although handsomely shot, with several good actors doing their best and a small handful of unsettling visuals, 'The Grudge' is ultimately a dull, disjointed mess that is riddled with cheap “boo!“ moments. I hope Pesce rebounds quickly from this failed effort in franchise-building and gets back to making the kind of idiosyncratic films he's clearly capable of. - Jake Watt
Read Jake's full article... https://www.maketheswitch.com.au/article/review-the-grudge-the-movie-reboot-curse-claims-another-victim
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Title : Bombshell Bombshell genre : Drama Bombshell crew : Colleen Atwood, Theodore Shapiro, Jay Roach, Jay Roach, Charlize Theron, Charlize Theron, Karen Blynder, Jon Poll, David D. Johnson, Ben Estrada Bombshell release date : 20 September 19 4 7 Bombshell runtime : 108 Minutes Bombshell Crew : Colleen Atwood, Theodore Shapiro, Jay Roach, Jay Roach, Charlize Theron, Charlize Theron, Karen Blynder, Jon Poll, David D. Johnson, Ben Estrada Bombshell cast : Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, Allison Janney, Malcolm McDowell, Kate McKinnon, Connie Britton, Liv Hewson, Brigette Lundy-Paine ========================ஜ۩۞۩ஜ==========================
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Bombshell is a revealing look inside the most powerful and controversial media empire of all time; and the explosive story of the women who brought down the infamous man who created it. Bombshell 2019 review : The best way to sum up ‘Bombshell’ is that it's a story that needs to be remembered and told, yet the film we got is good but not great. While all the acting is phenomenal - especially the leads - and makeup fantastic, the story, filmmaking and editing are uncreative and thus fail to hit the home run that this should have been. Having said that ‘Bombshell’ is still one to watch, if only to be reminded of what is still happening to women today - not just in Hollywood, but all around the world. - Chris dos Santos
Read Chris' full article... https://www.maketheswitch.com.au/article/review-bombshell-an-important-yet-uninspired-look-at-fox-news-sex-scandal **_A well-acted film about the human cost of bullying and sexual harassment_**
>_11.On or about September 3, 2009, Carlson complained to her supervisor that one of her co-hosts on_ Fox & Friends_, Steve Doocy, had created a hostile work environment by regularly treating her in a sexist and condescending way, including by putting his hand on her and pulling down her arm to shush her during a live telecast._
>_12.Doocy engaged in a pattern and practice of severe and pervasive sexual harassment of Carlson, including, but not limited to, mocking her during commercial breaks, shunning her off_ _air, refusing to engage with her on air, belittling her contributions to the show, and generally attempting to put her in her place by refusing to accept and treat her as an intelligent and insightful female journalist rather than a blond female prop._
>_13.After learning of Carlson's complaints, Ailes responded by calling Carlson a "man hater" and "killer" and telling her that she needed to learn to "get along with the boys."_
>[...]
>_20.On those occasions when he spoke directly with Carlson, Ailes injected sexual and/or sexist comments and innuendo into their conversations by, among other things:_
>_a. Claiming that Carlson saw everything as if it "only rains on women" and admonishing her to stop worrying about being treated equally and getting "offended so God damn easy about everything."_
>_b. Describing Carlson as a "man hater" and a "killer" who tried to "show up the boys" on_ Fox & Friends_._
>_c. Ogling Carlson in his office and asking her to turn around so he could view her posterior._
>_d. Commenting that certain outfits enhanced Carlson's figure and urging her to wear them every day._
>_e. Commenting repeatedly about Carlson's legs._
>_f. Lamenting that marriage was "boring," "hard" and "not much fun."_
>_g. Wondering aloud how anyone could be married to Carlson, while making sexual advances by various means, including by stating that if he could choose one person to be stranded with on a desert island, she would be that person._
>_h. Stating "I'm sure you [Carlson] can do sweet nothings when you want to."_
>_i. Asking Carlson how she felt about him, followed by: "Do you understand what I'm saying to you?"_
>_j. Boasting to other attendees (at an event where Carlson walked over to greet him) that he always stays seated when a woman walks over to him so she has to "bend over" to say hello._
>_k. Embarrassing Ms. Carlson by stating to others in her presence that he had "slept" with three former Miss Americas but not with her._
>_l. Telling Carlson that she was "sexy," but "too much hard work."_
- Extract from Gretchen Carlson's sexual harassment lawsuit against Roger Ailes (July 6, 2016)
>_Some of the women that are complaining, I know how much he's helped them. And even recently. And when they write books that are fairly recently released, and they say wonderful things about him. Now, all of a sudden, they're saying these horrible things about him. It's very sad. Because he's a very good person. I've always found him to be just a very, very good person._
- Donald Trump; _Meet the Press_ (July 23, 2016)
>_Today America lost one of its great patriotic warriors. Roger Ailes. For Decades RA's has impacted American politics and media. He has dramatically and forever changed the political and the media landscape singlehandedly for the better. Neither will ever be the same again as he was a true American original. Few people in this life will ever reach the profound level of impact that Roger Ailes had on the country every single day. As his opponents played checkers in life, Roger was always the strategist, playing Chess 5 steps ahead at a whole other level._
- Sean Hannity (via Twitter; May 18, 2017)
>_I was asked to do the spin. God help me, I did it. I know people think it's like, "Oh, you had to spin around", but I remember feeling like, "I put myself through school. I was offered partnership at Jones Day, one of the best law firms in the world. I argued before federal courts of appeal all over the nation. I came here. I'm covering the United States Supreme Court. I graduated with honours from all of my programs and now he wants me to twirl?" And I did it. If you don't get how demeaning that is, I can't help you._
- Megyn Kelly; "Megyn Kelly Presents: A Response to _Bombshell_" (January 9, 2020)
I've seen _Bombshell_ described as a docudramedy – a portmanteau if ever there was one, that essentially refers to a true story (docu) that's half drama (dram) and half comedy (edy). It's a relatively new subgenre that a lot of critics seem to be tracing back to Adam McKay's _The Big Short_ (2015) and _Vice_ (2018). And whilst Bombshell definitely takes inspiration from McKay's work, I think the real antecedent is Oliver Stone's 90s films. Granted, Stone never made what could be called a docudramedy – _The Doors_ (1991), _JFK_ (1991), _Heaven & Earth_ (1993) and _Nixon_ (1995) are docudramas, whereas _Natural Born Killers_ (1994) and _U Turn_ (1997) are dramedies. However, what all six films have in common, and this is where they're important to the modern docudramedy subgenre, is stylistic snappiness, unrelenting energy, visual hyperactivity, and editing rhythms that could give you seizures. And so too _Bombshell_. At least initially. And although it shares a lack of subtlety with McKay's _The Big Short_, and a lack of factual insight with _Vice_, _Bombshell_ is entertaining, brilliantly acted, and paints a horrifying picture of workplace bullying and sexual harassment. Sure, it'll be yet more evidence for the right that leftist Hollywood is incapable of partiality, but really, if you're the type of person prone to believing the propaganda machine that is Fox News, what are you even doing watching the movie in the first place?
The story begins in August 2015 during the first Republican presidential debate. Co-moderating the debate is Megyn Kelly (Charlize Theron completely disappearing into the role), the host of Fox News's _The Kelly File_, who asks candidate Donald Trump (then considered a highly unlikely winner), about his history of misogynistic comments. Pointing out he has called women whom he dislikes "_fat pigs_", "_dogs_", "_slobs_", and "_disgusting animals_", she asks, "_does that sound to you like the temperament of a man we should elect as president_". The following day, Trump proves her point during an interview with CNN by throwing a tantrum and claiming, "_she gets out there and she starts asking me all sorts of ridiculous questions, and, you know, you could see there was blood coming out of her eyes, blood coming out of her wherever_". And so, much to her chagrin, Kelly finds herself the focus of the headlines. Initially, Fox News president Roger Ailes (a superb John Lithgow), supports her, telling her that the exchange was "_great TV_", but as time goes on, and Trump's popularity continues to rise, Ailes's begins to grow concerned about Kelly's attitude. Meanwhile, in June 2016, after saying that she supports the assault rifle ban, Gretchen Carlson (Nicole Kidman), is fired from her show _The Real Story_. Carlson had been a co-host on the highly-rated _Fox & Friends_ until 2013, when she complained about sexist treatment by her co-hosts, and was demoted to a show in a less desirable timeslot. Fully expecting to be fired, she had already contracted a legal team, with the intention of filing a suit not against Fox, but against Ailes personally, who she claims sexually harassed her for years. However, she's told that the suit can only be successful if she can find others willing to corroborate his behaviour. But with the women of Fox urged to support Ailes (including wearing t-shirts proclaiming their loyalty), will anyone stand with Carlson? Elsewhere, the young and idealistic "_millennial evangelical_" and "_Jesus influencer_" Kayla Pospisil (Margot Robbie playing a composite character) is hired as a research assistant for _The O'Reilly Factor_. Determined to rise through the newsroom, she engineers a private meeting with Ailes, but is horrified when she discovers exactly what he means when he says he will need evidence of her "_loyalty_".
The film also features Pospisil's (fictional) mentor Jess Carr (Kate McKinnon); Ailes's wife, Beth (Connie Britton); Kelly's husband Douglas Brunt (Mark Duplass); Kelly's (fictional) producer Gil Norman (Rob Delaney); Ailes's lawyers Susan Estrich (Allison Janney) and Rudy Giuliani (Richard Kind); Fox News founder and owner Rupert Murdoch (Malcolm McDowell); Murdoch's sons, Lachlan (Ben Lawson) and James (Josh Lawson); Carlson's lawyer Nancy Smith (Robin Weigert); Kelly's (fictional) research assistants Lily Balin (Liv Hewson) and Julia Clarke (Brigette Lundy-Paine); Fox general counsel Gerson Zweifach (Andy Buckley); former Fox correspondent Rudi Bakhtiar (Nazanin Boniadi), who accused anchor Brian Wilson (Brian d'Arcy James) of sexual harassment in 2007 and was subsequently fired; Ailes's (fictional) secretary Faye (Holland Taylor); and, often in the form of single scene cameos, Fox News employees Bill Shine (Mark Moses), Dianne Brandi, (Amy Landecker), Martha MacCallum (Elisabeth Röhm), Ainsley Earhardt (Alice Eve), Alisyn Camerota (Tricia Helfer), Geraldo Rivera (an unrecognisable Tony Plana), Sean Hannity (Spencer Garrett), Bret Baier (Michael Buie), Neil Cavuto (P.J. Byrne), Kimberly Guilfoyle (Bree Condon), Bill O'Reilly (Kevin Dorff), Abby Huntsman (Ashley Greene), Chris Wallace (Marc Evan Jackson), Juliet Huddy (Jennifer Morrison), Julie Roginsky (Ahna O'Reilly), Harris Faulkner (Lisa Canning), Irena Briganti (Brooke Smith), Jeanine Pirro (Alanna Ubach), and Greta Van Susteren (Anne Ramsay).
Written by Charles Randolph (_The Life of David Gale_; _The Interpreter_; _Love & Other Drugs_) and directed by Jay Roach (_Austin Powers: International Man of Mystery_; _Meet the Parents_; _Game Change_), _Bombshell_ is the third major retelling of the Ailes saga in the last couple of years, following Alexis Bloom's documentary, _Divide and Conquer: The Story of Roger Ailes_ (2018) and the Showtime miniseries _The Loudest Voice_ (2019), which might go some way to explaining the film's disappointing box office (although I'm sure some will throw around the ridiculous "_get woke, go broke_" phrase). None of the principal characters, including Kelly and Carlson, were involved with the filmmaking at any point, and neither Theron nor Kidman consulted either woman. Carlson has not yet seen the film, and although Kelly originally said she might not watch it, in January 2020, she posted a video to her YouTube channel featuring herself, her husband, Rudi Bakhtiar, Juliet Huddy, and former Fox News producer Julie Zann, recorded immediately after a screening. Kelly praised the film's general accuracy, although she also noted that on occasion, it veered toward victim blaming, suggesting that certain scenes screamed out they were "_written by a man_".
The fall of Roger Ailes preceded the first accusations against Harvey Weinstein (October 2017) and the birth of the #MeToo movement by over a year. When Carlson first files her suit, not a single woman comes forward to support her (although, ultimately over 20 would), and one imagines that had this happened _after_ Weinstein, the situation would have been markedly different. Indeed, the film shows people such as Jeanine Pirro (perhaps the most militantly insane of Fox's cabal of instability) organising a kind of reverse picket line that seeks to discourage women from accusing Ailes (or Bill O'Reilly) of anything inappropriate, and isolating them if they do so (the "I stand with Roger" t-shirts are her idea). This depiction of the nature of sexual harassment in a male-dominated and female-enabled corporate arena is chillingly effective. In one particularly disturbing scene, we see a young female journalist go out for dinner with her male boss, and when he offers her career advancement in return for sex, her reaction is to pretend she doesn't understand what he means, then pretend it's not happening, and finally to apologise to him ("_I'm sorry if I've given you the impression that our relationship could be anything but professional_"). In this environment, women are the victims whether they resist or submit – resist, and they risk their job; submit, and they lose their self-respect. A more toxic environment is hard to imagine.
With that in mind, _Bombshell_ is certainly not a subtle film, but it doesn't try to be. Roach is not trying to engage in an even-handed examination of partisan politics, nor even look at the monolithic political ideology of Fox News itself. Sure, it features lines such as Ailes claiming, "_news is like a ship, you take your hands off the wheel and it pulls hard to the left_", whilst Carr states the main goal of Fox News is to "_frighten and titillate_" rather than report facts, but these are the exceptions in a reasonably apolitical film. Roach knows that 99% of his audience will already agree that Fox News is a dangerous, hate-filled, xenophobic, propaganda machine, so he makes little effort to depict the network's political leanings. Instead, the film is about self-loathing, fear, and anxiety – it's about workplace bullying and the human cost of sexual harassment.
Aesthetically, _Bombshell_ is something of a strange creature. The rapidly edited, stylistically hyperactive first half-hour or so is vintage McKay; a deeply self-reflexive almost meta-comedy. For example, one of the earliest scenes sees Theron break the fourth wall and address the audience as she gives us a tour of Fox News. Another moment sees Carr telling Pospisil that some people watch the channel so much, the logo has burnt onto their TV screens, at which point the Fox logo appears in the corner of the screen, remaining there for the rest of the scene. However, once the groundwork has been laid, Roach shifts tones completely and moves into fairly standard factual drama territory, which has the effect of making the first act feel somewhat isolated and incongruous, setting us up for a film which never arrives, particularly concerning the fourth-wall break (the only scene of its kind in the film).
On the other hand, the film's triptych narrative structure works very well. It's not an even divide (this is Kelly's film before it is Carlson's or Pospisil's), but it does allow Roach to dramatise just how much Ailes looks on his female staff as commodities. Carlson is the washed-up former beauty queen who no longer holds his interest; Kelly is the current flavour of the month, still beautiful, still popular; Pospisil is the future, young, vital, keen, and in awe of the man himself, as all women should be – for every Carlson, there's a Kelly to replace her, and for every Kelly, there's a Pospisil waiting in the wings, ready for grooming.
From an acting perspective, there's not a weak link, with Theron especially impressive. Normally, she looks nothing like Kelly, but through posture, mannerisms, wardrobe, a scratchy voice, and the subtle prosthetic genius of Kazu Tsuji (who turned Joseph Gordon-Levitt into a young Bruce Willis for Rian Johnson's _Looper_, and Gary Oldman into Winston Churchill for Joe Wright's _Darkest Hour_), the actress disappears into the character, who she plays as steely and often remote, but fiercely passionate and intelligent. Is it as good as her work in Patty Jenkins's _Monster_ (2003)? Not quite. But it's still a deeply impressive performance that transcends mere imitation.
The other standout is Lithgow, whose performance is fascinatingly modulated. Introduced in a scene designed to show his fatherly protective side, Lithgow initially portrays Ailes as a flawed human being – all too aware that he's losing a battle with age, but ironically resigned to his physical appearance not being what it once was. It's only later that the actor lets the monster out of the box. One particular scene, which is both his and Robie's best, and the dark heart at the centre of the film, sees him asking an increasingly uncomfortable Pospisil to hike her skirt higher and higher, to the point where her underwear becomes visible, as he becomes increasingly aroused, indicated by nothing but his breathing. It's an exceptionally well-staged and nauseating scene which gets to the film's core – the humiliation aspect of sexual harassment. Like rape, it's not about sex (at least, not entirely), it's about power, dominance, and submission. It's about ego. Ailes knows that if women like Pospisil value their job, they'll submit, just as they have done for men like him throughout history. As he sees it, ambitious women will always need powerful men, and he behaves as he deems appropriate within that paradigm.
As for problems, I mentioned earlier that the film might be too silent on some of Kelly's history. I understand where Roach is coming from on this; to feature scenes which seem designed to depict her in a less than favourable light could run perilously close to victim-blaming – kind of a "_who cares if she was harassed, she's a racist_" argument. So whilst I agree in principle, I think that in practice, Roach errs in the other direction. If you knew nothing about these events, you'd be forgiven for thinking the only controversy Kelly ever encountered in her time at Fox was asking Trump about misogyny. There's no mention, for example, of her infamous "_Jesus was a white man_" comment from 2013. Granted, it doesn't have much to do with the story at hand, but my point is a general one. The film's Kelly is almost virginal, without blemish. Making her character more rounded, more flawed, more (dare I say it) right-wing, would have served both the character and the story, and actually helped rather than hindered Roach's argument that politics don't matter in relation to sexual harassment. On the other hand, the film _does_ address the fact that Kelly knew about Ailes for years before Carlson was fired, and it takes her to task for not doing anything with that knowledge, with one character rightly pointing out that if she had done something earlier, other victims would have been spared. Interestingly enough, this was the scene Kelly herself felt crossed the line into victim-blaming – make of that what you will.
Another issue is that the tonal shift at the end of the first act is very strange, as Roach abandons the hyperactivity of the opening and settles into a far more conventional style – a transition he doesn't entirely pull off. He also makes the strange decision to mix archival footage of the real Ailes with Lithgow's performance during this first act, which somewhat shatters the film's performative universe.
Ultimately, _Bombshell_ will probably anger some for its refusal to really comment on how Ailes's accusers were part of the problem for a long time, propping up, excusing, and validating the system behind which he operated. However, to take this route is to suggest that because they elected not to rock the boat earlier in their careers, they don't deserve much sympathy. And anyone who knows anything about feminism or #MeToo will tell you that is absolutely _not_ the case. Certainly, in the case of Kelly, the opportunity for her to explain why she stayed silent for so long is available, but is never availed of. But is that a fault of the filmmakers or a reflection on the actual person's reluctance to take that particular journey inward? Sure, the film is at pains to avoid showing either Carlson or Kelly as in any way complicit in creating the hideously outdated patriarchy at Fox (as opposed to many of the network's other female employees, who seem to be fair game). But this is by design. Were _Bombshell_ a story about Fox News, such things ought to be examined. But it isn't. It's a story about humiliation and bullying, a story that says people do not deserve such treatment, no matter their race, religion, or politics. I was hesitant at first to watch this movie. I couldn't imagine watching anything nearly two hours long about the Fox Network. Plus I saw a lot of negative buzz on the film. I am a progressive and have been glad to see wealthy men being held accountable for sexual harassment finally, but I wasn't anxious to watch a hit job either. I researched the actual story and it seemed to be about two old white guys in a privileged position, and if their conservative wealthy boss fired them, how unfair could it be?
I found it to be entertaining. I gather one of the main characters isn't a real person, but rather a sort of amalgam of many women who were sexually abused and either left Fox or were disposed of in other ways. I liked the husband who supported his famous wife so loyally, and got a kick out of the shenanigans the lesbian character had to go through to stay hidden in plain sight. I never expect a documentary with these films, so small changes and artistic freedom doesn't bother me. It is not a documentary, after all.
if you are conservative and a Fox news devotee, and don't like to see anything negative about it, you might want to give it a miss. But for the rest of you, if you want to see some of the behind the scenes of a part of the Me Too movement, here you go.
