She Said

Director: Maria Schrader
Starring: Carey Mulligan, Zoe Kazan, Patricia Clarkson, Andre Braugher, Jennifer Ehle, Lola Peticrew, Samantha Morton, Molly Windsor, Ashley Judd, Zach Grenier, Peter Friedman, Tom Pelphrey, Angela Yeoh, Keilly McQuail, Mike Houston, James Austin Johnson, Gwyneth Paltrow 
Running Time: 129 min.
Rating: R

★★★ (out of ★★★★)

Maria Schrader's She Said doesn't give any false illusions as to what it is or pretend to be some kind of escape from reality. This much is clear in an early scene from 2016 when we hear Donald Trump (voiced by SNL's James Austin Johnson) screaming at a reporter about the leaked Access Hollywood tape. The fallout from that would be minimal, if nonexistent, serving as a reminder that those in power say what they want only until the public decides they've heard enough. But this isn't about him, at least not directly. Rather, it's the jumping off point that emboldens those investigating Harvey Weinstein, whose sexual abuses stand in a category of its own. 

The film depicts how Weinstein bullied and silenced victims into staying quiet for decades, with a lot of help along the way. And while it's easy to see how he got away with it in this context, what's most ironic about that Trump scene is how it might might be the film's only sensationalistic moment. In showing very little, Schrader tells a lot, with a tone similar to classic investigative journalism procedurals like All The President's Men and Spotlight. Based on the 2019 book widely credited for igniting the #MeToo movement, it's full of uncomfortable, disturbing testimonials from Weinstein victims that's direct and no-nonsense enough to be mistaken for a documentary. 

Schrader keeps things moving while Screenwriter Rebecca Lenkiewicz takes a practical, fact-based approach, both making as formidable a team as the two leads driving this story. It may not be everyone's idea of edge-of-your-seat suspense and there are only so many different ways to hear about Weinstein removing his bathrobe and demanding a massage, but it happened. So, as sickeningly repetitive as it is to hear, the survivors lived this, and listening to how it permanently altered them provides plenty of unexpected tension. For those who appreciate films that get into the nuts and bolts of print journalism, there's a lot to respect, as the most salacious of stories is presented in a sensibly straightforward style that doesn't pull punches.

It's 2017 when New York Times reporter Jodi Kantor (Zoe Kazan) receives a tip from actress Rose McGowen (voiced by Keilly McQuail) regarding an alleged sexual assault she experienced at the hands of Miramax head Harvey Weinstein when she was 23. After speaking with other prominent actresses who refuse to be named for fear of career ramifications, Kantor enlists the help of fellow Times reporter Megan Twohey (Carey Mulligan). Together, they uncover a trail of allegations, hush money payments and settlements linked to Weinstein over the years, but face an uphill battle, with many of the women having signed NDAs that prevent them from talking. 

Digging deeper with each new interview with former employees and assistants, an alarming pattern emerges, along with the possibility of a massive cover-up that extends far beyond the Miramax offices and into the legal realm itself. With the full support of Times editors Dean Baquet (Andre Braugher) and Rebecca Corbett (Patricia Clarkson), Kanto and Twohey move forward despite mounting pressure threats against their sources. Undeterred, they work to get these women heard and expose Weinstein's crimes, whatever the cost.

As strong as Mulligan and Kazan are separately in their scenes, they're even better together, entirely believable as reporters with differing personalities and tactics sharing the same goal. Twohey is the  more seasoned and aggressive of the two, reflected by her cynical, somewhat hardened nature. In contrast, Kantor is a deer in headlights, struggling to persuade sources to talk to her and go on the record. But as the investigation wears on, we see how their styles compliment each other, especially when circumstances call for one to rein the other in.

Kantor's empathy and likability proves to be an asset in dealing with the victims while Twohey's strength lies in navigating legal obstacles that derailed all previous attempts to nail Weinstein. Both actresses hit these notes perfectly, especially Mulligan whose character is all business, even while emotionally collapsing under the weight post-partum depression. She convincingly plays Twohey as if uncovering the truth is not only a mission for justice, but an escape that could make her feel full again. It's obvious how personal this is for both, with Schrader trusting the actresses to show it and leave the telling to the victims. Balancing this with the strategizing taking place within the Times' offices, she impressively showcases the processes that surround an investigative undertaking of this magnitude. 

In devastating turns, Samantha Morton and Jennifer Ehle play ex Weinstein assistants, one of whom sacrifices her career to protect a friend while the other's traumatic sexual assault is dredged up at the worst possible moment. As powerful flashbacks show their days at Miramax, both are now forced to contemplate the potential ramifications of coming forward and reopening deep emotional wounds. But Schrader avoids tastelessly recreating the assaults, instead detailing the events that led to them and its lasting psychological impact.

Even if we only hear Weinstein (Mike Houston) yelling over the phone and briefly catch sight of this loud brute at the end, it's still more than enough for him to make the worst possible impression. Braugher is particularly good in his scenes handling him, as he and Clarkson give probably the two most overlooked performances, credible every step of the way as practical but fair editors. And while famous Weinstein victim Gwyneth Paltrow does make a vocal cameo as herself, Ashley Judd appears full-on, essentially retracing the actual steps she took to come forward and expose him. 

Schrader clears all these creative hurdles in an unfussy manner since anything less could cause a serious, real-life topic to come across as the type of tabloid smut this film's rallying against. Still, it's impressive how thorough the script is in presenting exactly what happened and how. She Said finds a comfortable middle ground, neither a condescending lesson for viewers already familiar with journalism's inner workings or a bore to those who aren't. That we know the end result of Weinstein's trail of terror hardly dampers the proceedings, only further establishing it as a morality tale better suited to the big screen than most suspected.     

Olympus Has Fallen

Director: Antoine Fuqua
Starring: Gerard Butler, Aaron Eckhart, Morgan Freeman, Angela Bassett, Rick Yune, Dylan McDermott, Finley Jacobsen, Melissa Leo, Radha Mitchell, Robert Forster, Cole Hauser, Ashley Judd 
Running Time: 120 min.
Rating: R

★★★ (out of ★★★★)

You know a movie means business when they kill off the First Lady off within the first ten minutes. That this isn't even a spoiler, but merely the inciting event kicking off the White House terrorist takeover thriller, Olympus Has Fallen, should give you an idea the kind of action spectacle we're dealing with. It's greatest attribute is that it doesn't even give audiences time to question whether this or that can happen (hint: it probably can't) or figure out logistics. North Korean terrorists descend upon Washington D.C., staging an all out assault on The White House, muscling their way through by killing as many innocent bystanders, secret service, military and law enforcement as possible. And in this PG-13 movie era where it seems everything on screen is sanitized within an inch of its life, it comes as a great relief that director Antoine Fuqua doesn't pull any punches. He doesn't give in to political correctness, showing no hesitation in depicting the "bad guys" as angry terrorists who want to blackmail and destroy us. To his credit, he knows exactly the kind of movie he wants to make and that there's justifiably very little room for subtly or nuance in it. It's fun and ridiculous in ways only the most enjoyable action movies are. 

The pawn in the North Koreans' game is President Benjamin Asher, who's played by Aaron Eckhart exactly how you'd expect the actor to play a stubborn, but heroic, tough as nails Commander in Chief. Over a year removed, he's still reeling from the tragic results of a car accident at Camp David, when his good friend and lead secret service agent Mike Banning (Gerard Butler) saved his life while failing to prevent the death of the First Lady (Ashley Judd). After being removed from the President's security detail, Mike's now working at the Treasury Department and one the film's best dialogue exchanges comes when Director of the Secret Service Lynn Jacobs (Angela Bassett) tells him that Asher knows he did the right thing but was removed because he can't stand looking at him and being reminded of that night. A good line from a fairly clever script, effectively setting the stage for much of what follows, even if you could argue what's been seen so far is interesting enough for another story in itself.

All hell breaks loose when the North Koreans descend upon Pennsylvania Ave. by air and ground, eventually shooting their way into the White House where the President and Secretary of Defense McMillan (Melissa Leo) are being held hostage in a bunker by dangerous terrorist mastermind Kang Yeonsak (Rick Yune). It's up to Banning, seemingly the last agent alive, to rescue his former boss and make sure the First Son, Connor (Finley Jacobsen) is located. Their demands involve the removal of U.S. forces from Korea as well as a plot involving the detonation of our nuclear weapons, but that's almost beside the point. This can really best be described as "Die Hard in the White House" and your enjoyment of it is directly proportional to how exciting you find that premise, as it does mostly deliver on the tagline. It's hard not to when you have Butler taking a much needed breather from rom-com nonsense to slither through the walls of the Oval Office killing unsuspecting terrorists.

It's ironically the smaller character moments provided by an impressive supporting cast that end up carrying this. Like a frighteningly believable and bloodied Melissa Leo refusing to reveal the nuclear code or reciting the pledge of allegiance as she's dragged across the floor. Morgan Freeman's known for playing calm, benevolent leaders so it's kind of unusual to see him, as Speaker of the House Allan Trumball, suddenly thrust into the Presidency without any preparation and having to think on his feet. He and Army Chief of Staff Clegg (played by the great Robert Forster) are Banning's only lifeline to the outside world, even if at times it seems Clegg is working against him.

There's this scene where Clegg makes this horrible decision that kills his own men, but look at Forster's face. He's like a kid playing a video game. Not only does he think this plan is actually working, if he loses some of his men in the process, so be it. The idea of "giving in" to these terrorists' demands and withdrawing the troops is literally his worst nightmare. There's a small attempt to convey Banning's life outside work but that Radha Mitchell's role as his wife insignificant in terms of characterization isn't much of a detriment considering that's not where our concern lies. Dylan McDermott is sleazy and menacing as disgruntled ex-Secret Service agent Dave Forbes, who's defected to the other side to help Kang carry out his plan and is headed for a showdown with his former colleague.

As ridiculous as the movie may seem, it works within the context of its own silliness, never violating the ground rules it sets for itself. The opening thirty to forty minutes aren't silly though. They're actually pretty scary. After that, well, not so much. But it's still a great time. Whether Eckhart is believable as the President of the United States is almost beside the point here. Similar to Harrison Ford in Air Force One, he's believable as Aaron Eckhart playing the President in a treacherous situation, which is exactly all that should be asked of this. There's a London-based sequel on the way, but the filmmakers might be underestimating just how much the setting has to do with its success as it's tough to beat the sight of being able to just walk through the front door of a decimated White
House. As the better titled of the two recent White House attack movies, Olympus Has Fallen definitely won't inspire deep discussions about national security when it's over, but under its own terms, it's surprisingly smart and exciting.