There’s topical, there’s timely, and then there’s “The Post,” which feels less like a historical thriller set in 1971 than it does an exhilarating caricature of the year 2017. While Steven Spielberg’s latest film rivetingly dramatizes the publication of the Pentagon Papers (and eloquently unpacks the consequences of their dissemination), “The Post” wears the Nixon era like a flimsy disguise that it wants you to see right through.

That’s not to take away from Ann Roth’s ratty and exquisite period costume design, or to detract from how immaculately set decorator Rena DeAngelo recreated the smokey thrum of the old Washington Post newsroom. It’s certainly not to diminish Meryl Streep’s fraught and powerfully grounded portrayal of the late publishing scion Katharine…

52/100

Wish I'd jotted down some notes on this, because a week later I can barely remember any details, apart from the pandering shot of Graham walking down the courthouse steps while a crowd made up exclusively of young women stare at her as if she's Athena descending Mount Olympus. And honestly I can't improve on the unsourced Facebook comment aptly observing (as paraphrased by David Edelstein) that "telling the Pentagon Papers story from the vantage of the Washington Post is like telling the Watergate story from the vantage of the New York Times." The overall stakes for the First Amendment are high, but the ground-level stakes for the Post itself (not counting the impending IPO, which is hard to…

The interests of bourgeois "feminists" is not in line with the interests of working women. This is not a new idea. Kay Graham's risks of her "fortune" and her paper are nothing as compared to the risks taken by the woman who drops off the first pages of the Pentagon Papers, nor the risks of the working women affected by the war, especially not the Vietnamese women who were massacred by U.S. soldiers. Kay Graham's interests are personal, individualistic, and petty. A film that glorifies a woman who was close personal friends with war criminals and felt bad about exposing them is not a feminist film. Kay Graham was not a good person. She came to the correct decision by…

I'm not sure why anybody would choose to watch a film inspired by political fears of the day, unless you're determined to see everything Steven Spielberg has ever made.

This is about journalists at the Washington Post wondering whether or not to release stolen documents about the Vietnam War in 1971. But the subtext of course is President Trump, who had been in power for less than a year when this was released.

Spielberg made this at breakneck speed alongside Ready Player One presumably because he feared Trump was going to be a tyrant and thwart democracy and the freedom of the press in the mould of 20th century presidents. It's a hysteria/panic film by Democrat. The right produces them…

Netflix

Back to 2017. Trump has been in office for months now, and the media is obsessed with fake news. Spielberg was definitely shocked by this, so he more or less rushed this movie into existence. This movie was made from script to theatrical release in just 9 months, which is for a big Hollywood film incredibly fast. Knowing that, this movie doesn't really feel rushed in any way. All of it is professionally made, which obviously has to do with the incredible skill Steven Spielberg makes his films.
Though this movie is not great by any means, it's obvious that it's made by someone who knows what he's doing. Spielberg has a lot of talent and experience, so making…