WHAT IT’S ABOUT?
Political intrigue corruption scandal sex — it’s all here in this Americanized adaptation of the much acclaimed 2003 six-hour BBC miniseries. With the story shifting from London to Washington D.C. the focus is now on a married congressman who is chairman of an important committee overseeing defense spending. He is a rising star in his party until his beautiful young assistant with whom he has been carrying on a clandestine affair is suddenly found dead. Things get complicated when his old friend Washington Globe investigative reporter Cal McAffrey is assigned to track down the story and try to uncover the identity of the killer. With cub blogger Della Frye forced on him as a partner the two journalists step into a government coverup that is much bigger than anyone could have imagined.
WHO’S IN IT?
Four days before production kicked off Brad Pitt dropped and Russell Crowe replaced him in the key reporter's role. It’s hard to imagine Pitt in this part since Russell Crowe disheveled-looking with long hair and about 30 pounds overweight owns it in his best performance since A Beautiful Mind. As his blog-savvy young partner Rachel McAdams firmly captures the essence of a determined but inexperienced young journalist in over her head. A sharp-tongued and feisty Helen Mirren is ideal as the newspaper boss more concerned with profits than integrity as she spouts out lines like “I don’t give a s--t about the rest of the story. We are going to press!” Ben Affleck also has his best screen outing in a while as the ambitious congressman Stephen Collins who gets caught with his pants down. A bevy of fine supporting turns include Robin Wright Penn as Collins’ unhappy wife; Jeff Daniels oily and smarmy as a conservative politician who knows more than he lets on and especially Jason Bateman stealing scenes as a slimy PR guy who provides some key details.
Not only does State of Play work well as a political thriller its pointed take on the failing state of newspapers and lax journalistic standards could not be more timely. Stunning widescreen cinematography and lavish sets add to the authenticity of a movie that in its best moments can be compared favorably with similar '70s classics like All the President's Men.
As the dense plot unfolds it gets a bit confusing trying to keep all the players straight particularly towards the end where you might need "State of Play for Dummies" just to follow it all.
A nail-biter beautifully staged by director Kevin MacDonald (Last King of Scotland) where Crowe plays a cat-and-mouse game in an underground garage with a mysterious armed suspect he has just confronted.
HOW MANY WRITERS DOES IT TAKE TO SCREW IN A LIGHT BULB?
Four major ones in this case. Matthew Michael Carnahan (The Kingdom) Tony Gilroy (Duplicity Michael Clayton) Billy Ray (Breach) and an uncredited Peter Morgan (Frost/Nixon The Queen) are the superstar team of scribes who each took a crack at whittling down a six-hour miniseries into a two-hour flick.
Look for Bateman and the art directors responsible for the massive newspaper office to turn up on the shortlist for next year’s Academy Awards.
A movie supposedly based on a true story and definitely custom-made for horse lovers Hidalgo ambles along at a leisurely pace taking a full two hours and 20 minutes to tell the story of a man Frank T. Hopkins (Viggo Mortensen); his horse Hidalgo (T.J.); and their attempt to win the famed 3000-mile "Ocean of Fire" endurance race across the Arabian Desert in the 1890s. (We use the phrase "supposedly" true because although the filmmakers claim the story is meticulously researched certain Arab groups claim no such race ever existed. Certainly Hopkins himself lived but the rest is up for debate. Ah Hollywood can we not have one film this season that doesn't stir up controversy with someone?) At any rate Hopkins' reasons for entering the alleged race are many but mainly he's running from himself. The son of a Native American woman and a white man he's never been able to come to terms with his mixed heritage. Since the Ocean of Fire race has always been exclusively open only to a) men b) Arabs and c) purebred Arabian horses Hopkins' efforts to prove himself--and his mustang--form the movie's underlying theme which is typical Disney fare: It's not about who you are or where you came from; it's all about heart.
With his standout turn as Aragorn in the Lord of the Rings trilogy Mortensen achieved heartthrob status but the big question everyone's asking about Hidalgo is whether or not he can carry a movie on his own. The answer is a resounding yes. When there's action to be had Mortensen looks like a real pro. He's got the cowboy drawl down pat; shoots a Colt .45 with confidence; delivers sharp one-liners like a kinder gentler Clint Eastwood; and has a great seat on a horse. Even when the movie gets a little slow--and it does a 3000-mile desert race will do that to a movie--Mortensen's onscreen appeal saves the day. There is of course a supporting cast of characters who either help our hero in his quest: Sheikh Riyadh (Omar Sharif) who challenges Hopkins to enter the race but ultimately becomes his friend and the Sheikh's daughter Jazira (Zuleikha Robinson) a rider herself but prohibited from entering because she's a woman. Obstacles of course also abound: There's Lady Anne Davenport (Louise Lombard) who needs her mare to win the race so she can breed her to the Sheikh's Arabian stud El Attal the purest stud of the purest bloodline in the world. She wouldn't mind if Hopkins dropped out of the race--or into her bed.
There's no question that director Joe Johnston's (Jurassic Park III) production of Hidalgo was a massive undertaking: Eight hundred horses plus camels vultures falcons rabbits goats dogs donkeys leopards and buffalo are featured in the film along with a re-creation of a Wild West show the massacre at Wounded Knee a locust swarm and a desert sandstorm. The locations spanned the globe from the Arabian Desert (shot in Morocco) to the sprawling ranchlands of the American West to the New York City docks. All in all it's a well put together visual display and like its star it feels authentic. The dialogue from scribe John Fusco (Young Guns I and II Spirit: Stallion of the Cimarron) is engaging if occasionally a little sappy; the relationships (especially between Hopkins and Hidalgo) are meaningful and well presented; and the action scenes are fast-paced and exciting. Trouble is interspersed are somewhat long expanses of time during which too little actually happens which makes the film seem longer than it needed to be.