Trite, but tight, and sort of engrossing: For a minute you really wonder whether they were Nazis, and if so, what that might mean. The movie ultimately squanders our curiosity. Diane Kruger is good, though. She does her best to sink into a character who's barely there. She's better than the movie.
A colleague from my graduate program published this substantial piece in the Los Angeles Review of Books taking the movie to task smartly, but perhaps in over-familiar ways—it's the best and most worthwhile version of an argument about race, privilege and this film that I disagree with. It raises a lot of questions for me, so I responded on Facebook today (1.16.2017) with the following:
This is really sharp. The points about melodrama and masculinity are especially dead-on. I think…
Here is when it all falls apart -- rather, shows itself becoming the film it wants, but doesn't need to be. Marty Baron (Schreiber) has just become the new editor of the Boston Globe. Boston is a Catholic town, rich with institutional history: a robust popular press, a monolithic church. Baron, newly minted as the editor of the biggest newspaper in town and a Jew to boot, must meet with Cardinal Bernard Law, the since-defamed Archbishop of Boston, because these…