Read Mixed User Reviews for The Post

5

MattBrady99Apr 3, 2018

This was work to get through.

I mean, great performances all around, except for Tom Hanks which I will explain later. Meryl Streep, Bob Odenkirk, and Sarah Paulson were fantastic, having standout moments through out as all three carry theThis was work to get through.

I mean, great performances all around, except for Tom Hanks which I will explain later. Meryl Streep, Bob Odenkirk, and Sarah Paulson were fantastic, having standout moments through out as all three carry the film on their shoulders. With Tom Hanks, not saying he was bad, just easily the weak link and failed to impress me. Nothing about his performance felt natural and came across too forced in certain scenes.

"The Post" tackles a serious subject matter and easily sheds light on relevant topics of today, hence why it was rushed into production - too bad it's not that memorable for any future discussion, which is unfortunate .

At the moment, Spielberg makes factor type films. While not a hack, but lost his prime. I will continue to watch his movies, old or new, because even Spielberg's worser movies are not poorly made, at least. Now lets see about "Ready Player One".… Expand

1 of 1 users found this helpful10

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5

hdbflyJan 13, 2018

I found this dull, without tension. The jokey moments were odd. The protestors were all hippies, as if they were the only people against the war. The end with Watergate was totally unnecessary. Instead of seeing this, re-watch All theI found this dull, without tension. The jokey moments were odd. The protestors were all hippies, as if they were the only people against the war. The end with Watergate was totally unnecessary. Instead of seeing this, re-watch All the President's Men. It's a far superior film.… Expand

5 of 8 users found this helpful53

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5

EPMDJan 14, 2018

I like a historically-based drama, but they sucked all the life out of this one. It was just plain dull. I absolutely loved All the President's Men and Spotlight, two much better movies in this genre. The cast contained many famous faces, butI like a historically-based drama, but they sucked all the life out of this one. It was just plain dull. I absolutely loved All the President's Men and Spotlight, two much better movies in this genre. The cast contained many famous faces, but I actually think that worked against this movie. I never could get past the famous faces to see the characters themselves...and a lot of that was due to how insipid the script was. I guess I just expected something better.… Expand

5 of 8 users found this helpful53

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5

MMGJan 13, 2018

What is going on with the film critics!
This was NOT a good movie.
it was long and drawn out, and only came together near the end. The critics are going through a bad period at the moment , slating some movies, like The Greatest Showman who'sWhat is going on with the film critics!
This was NOT a good movie.
it was long and drawn out, and only came together near the end.
The critics are going through a bad period at the moment , slating some movies, like The Greatest Showman who's popularity spread like wild fire, and praising others like this one.… Expand

9 of 15 users found this helpful96

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6

LamontRaymondDec 23, 2017

It's a decent film, but doesn't provide any of the real juicy depth in the story. Tom Hanks is the primary weakness in the film - his performance pales on comparison to Jason Robards' performance in All The President's Men. Bradlee was aIt's a decent film, but doesn't provide any of the real juicy depth in the story. Tom Hanks is the primary weakness in the film - his performance pales on comparison to Jason Robards' performance in All The President's Men. Bradlee was a much tougher, acerbic, dynamic figure than Hanks displays. And Sarah Paulson as Tony Bradlee is equally as weak. (As an aside, when she says she was "sad" looking at the picture of she, Ben, Jack, and Jackie, I wish Spielberg had gone the step further to explain WHY she was said - what happened on the boat - when Jack assaulted her, which was discussed so artfully in the recent HBO doc on Ben's life.) The other primary weakness is the Daniel Ellsberg role. Matthew Rhys is outstanding, but I wanted to know more about how and why he decided to leak the papers. (Especially given the recent actions of RealityWinner and Snowden.) The Vietnam sequence in the beginning is wasted. Also, Bradley Whitford hams it up like he does in most roles, largely to negative effect. Meryl Streep really saves the film with an elegant, nuanced performance, though again, I would have loved just a bit more information about how a 45-year-old who never held a job in her life was able to transition in to the primary ownership role of the Washington Post.… Expand

6 of 13 users found this helpful67

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5

robbywarren93Jan 24, 2018

Typical Spielberg. Doesn't do anything interesting with it's interesting and timely true story, and Tom Hanks and Meryl Streep sleepwalk their way through this for the most part.

2 of 5 users found this helpful23

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6

AxeTJan 5, 2018

As expected very verbal well acted true story drama and as always very watchable Spielberg top notch craft, but the problem is in its sheer predictability whereby I felt I got everything necessary just from the advertising and even more soAs expected very verbal well acted true story drama and as always very watchable Spielberg top notch craft, but the problem is in its sheer predictability whereby I felt I got everything necessary just from the advertising and even more so from the few or so minutes covering the same story within the recent 18 hour Ken Burns PBS Vietnam War documentary. Ironically the only really fresh aspect might be the reliably predictable John Williams catchy if nothing so new music score.… Expand

2 of 8 users found this helpful26

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5

TrevorsViewFeb 9, 2018

One time in high school, a student in my class sent me an article on the declining chocolate in chocolate mines, signaling the eventual end of chocolate. As you figured, he proudly wanted to give me an example of a fake news article since ourOne time in high school, a student in my class sent me an article on the declining chocolate in chocolate mines, signaling the eventual end of chocolate. As you figured, he proudly wanted to give me an example of a fake news article since our class at the time was focused on said topic. Now, aligned against such relevant topics, Steven Spielberg initiates his masterful silent storytelling skills once again alongside his ability to grip the viewer right away as he elucidates the US Government’s pinnacle point in The Post.

First, a little trivia: did you know the name “Spielberg” is Hebrew for “play city?” Actually, no; it is a German-Austrian name for “play mountain,” inspiring his first film production company, “Playmount Productions.” If I didn’t tell the truth, you would’ve believed my fake news. In the same way, the script by Liz Hannah and Josh Singer (Spotlight) allows each character a chance to distinguish reality based on the given resources. The narrative format here complements the piece, starting off with a gritty, desaturated look of soldiers in Vietnam that suddenly turns into a dark bullet storm in the misty rainforest. After this tense first scene, terrific efforts come out by every player involved, big or small, a proper amount of time given on each to shine in their talent.

Although, Spielberg’s hard efforts ultimately lead to a bland inconsistency. The promising style established in the first scene, including the incorporation of old news footage and old movie posters such as Butch Cassidy and the Sundance Kid, later gets abandoned. Consequently, the dialogue builds up forced unemotional moments until a cringeworthy so-called-emotional monologue by Meryl Streep shuts off most viewers.

Only three women carry significant roles, one a useless, pathetic wife who encourages her husband, one an employee in the Washington Post who barely contributes anything important, and the main female lead, reporter Katharine Graham, who falls along the line of a notion for women overcoming the impossible rather than a plausible human. If instead told from the perspective of Katharine Graham’s partner, Ben Bradlee, then the script might have been able to spot precisely which political agenda to focus on, rather than attempting to cover everything that causes Twitter to crash.

Yes, Barack Obama’s lies about the doubling fuel efficiency were horrible, but guess what’s equally horrible? When a recreated historical DC moment in a period of Civil Rights and a War in Vietnam leaves out non-White people. Why ignore the perspectives of Blacks and the Vietnamese? They matter too! Beside the cultural impacts it glazes past, this ordinary Oscar bait ends up #FakeNews, exactly contradictory to its supposed attempts!

The Post concocts several false facts, proving its small level of care toward fake news compared against its reliance on a relevant issue to gain sympathy attention. Instead of acknowledging how The New York Times actually published the story before the Washington Post, the narrative points pull a Fox News mindset by an exclusive cafeteria selection process to pick which accurate events will best complete the dramatic story they think would interest above the truth.

Of all history’s Best Picture nominees, Amblin Entertainment’s godlike depiction of the Washington Post trumps in its hypocrisy over the rest—even the Washington Post itself lied before: look at its story on Russian hacking the power grid. These Democratic filmmakers intend to brainwash you into thinking the people deserve the ultimate power, except they should not worship themselves if they rely on inanimate print and ink.

On the other hand, we must understand Spielberg’s warning signs of the ugly head of fakeness: in the news, on your prescription medications, and amongst your friendships. The flaws cut deeper knowing our current president has told six times more falsehoods in his first ten months in office than Obama told throughout his entire presidency. Thus, The Post causes us to ponder the realities: Government today must say no to fake news.

I admit I too pick often the daily highlights to share on Instagram. Just a few weeks ago, a green element parked right in front of my own green element; I had to decide whether it deserved a spot on my Instagram feed: does it fit my selective online identity? Such tiny moments turn us into modes of selective identity, much like The Post’s selective identity that the Washington Post saved America. Chiefly: truthfulness starts with the choices you make.… Expand

0 of 1 users found this helpful01

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6

MonkiReviewsMay 25, 2018

I enjoyed it, but it was a little slow. The first 25 minutes were not bad, but it was kind of boring. The second half of the movie was good, the characters were interesting, the story was starting to get interesting, and the acting was good.I enjoyed it, but it was a little slow. The first 25 minutes were not bad, but it was kind of boring. The second half of the movie was good, the characters were interesting, the story was starting to get interesting, and the acting was good. The only downside was the script wasn’t that great. The last third of the movie was the best part, it was exciting and entertaining while making up for the mediocre first third. I recommend this movie.… Expand

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6

TyranianAug 22, 2019

Typically well-made Spielberg film but the story and characters are snore-worthy.

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6

amheretojudgeJan 15, 2018

The film was rushed and feels a bit slow, in the sense that it is over explaining things.

The Post Spielberg's, often accused to be an Oscar bait, isn't actually an Oscar bait. But then, it is so magnanimously a cliched of textbook genre,The film was rushed and feels a bit slow, in the sense that it is over explaining things.

The Post

Spielberg's, often accused to be an Oscar bait, isn't actually an Oscar bait. But then, it is so magnanimously a cliched of textbook genre, that it's perks comes with a price that we, as an audience, are never able to retain it. And yes, then there is the argument of the importance of the film, especially considering the sensitive time when it was released- I mean they wrapped up the film in production within a few months just to exemplify the notorious "fake news" era that the media was going through. But is that enough. Does having a bigger or crucial theme exceed all the limitations of the film? I mean it still comes down to filmmaking. And as far as the father of our generation, Steven Spielberg, the director is concerned, he is babysitting us safely, but it is the screenplay that doesn't pamper us to sleep. The Post is about a revolutionized event in the history of democracy that hands over the power to have your voice heard, against anyone, by anyone, for anyone.

Recreating the technology of those old times, the phone booth, the newspaper, the typewriter, the suitcases and the glasses. Infamous for speaking through objects and props in order to express the environment, the state, Spielberg uses those with excellent conditional clauses that he sets free by releasing emotion, winning emotions. A call being successful or a call finally accepted, those close up shots is not earned by the script but by the performance and the execution.

Which brings us to a major asset of the film, the star cast. And giving these megadoms a manager and an intern position to work on. Meryl Streep goes through an emotional trauma for obvious reasons, but those examples are what I love, especially how nuanced they are. No one points to the elephant in the room, Spielberg just populates a room full of men which Streep is about to enter, passing by a group of ladies standing outside the very room, not allowed, not accepted. Tom Hanks on the other hand is doing the heavy work and is probably the one who is least emotionally attached- the supporting characters like Bob Odenkirk and Mattew Rhys too go through emotional traumas- and yet claims to be; it is one of the best scene in the film where Sarah Paulson and he discovers this together.… Expand

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6

IsaacJApr 19, 2019

It seems somewhat surprising that 2017’s The Post marks the first time that Steven Spielberg, Meryl Streep and Tom Hanks have all collaborated together. From this triumvirate of living screen legends, one expects near perfection, even in aIt seems somewhat surprising that 2017’s The Post marks the first time that Steven Spielberg, Meryl Streep and Tom Hanks have all collaborated together. From this triumvirate of living screen legends, one expects near perfection, even in a project whipped up in as quick time as this political drama, a watchable if slightly more staid Spielberg production.
The Post acts almost as a precursor to Alan J. Pakula’s All The President’s Men, telling the story of the Pentagon Papers and how The Washington Post battled with Nixon’s White House to uncover shady government secrets over the Vietnam War. Meryl Streep is Kay Graham, the first female owner of a major American newspaper, whose job, we are led to believe, mainly involves high-class socialising and cagey board meetings where her gender is looked upon with raised eyebrows. The Post charters Graham’s legal battle for the freedom of her paper, helped by her boisterous editor Ben Bradlee (Tom Hanks).
In many ways, The Post left me feeling slightly disappointed. Here, Spielberg is very content in his craft, almost to the point of complacency. The film is entertaining enough but lacks the edge of some of the director’s better political dramas like Lincoln. Though The Post is very much a period piece (the attention to detail of the era is satisfying), its commentary is clearly intended to echo the climate of today, where the office of the President of the United States stands even more overt in its quashing of the free press. Whilst there is no denying the importance of the message, it’s one dealt with little subtlety in this film, with characters frequently quoting the First Amendment and uttering melodramatic statements of responsibility. The Post feels far too much like it’s trying to say something, weighing the film down even amongst the capable direction and talented ensemble.
I also found Streep’s performance to be underwhelming, her understated delivery bordering on passionless. Hanks is far more impressive, giving Bradlee an enjoyable level of gravitas. Even then, however, the characters in The Post never feel particularly convincing, mere products of the plot rather than engaging figures in their own right. There is also a distinct lack of tension, where even at points of climax in the narrative, the film feels stuck in a sedate vacuum, finally ending in a cadence that seems to come all too quickly and with a little too much Amblin-schmaltz.
That being said, The Post is still a very competent drama that, even in the face of its problems, remains voraciously watchable. There is no denying the talents of the team behind this film; whilst the subject matter never quite convinces you that it wouldn’t be better as a documentary, Spielberg still has a good hand on the storytelling and there are some great turns by members of the ensemble cast (Bob Odenkirk’s performance feels the most genuine the film gets). John William’s score is a complimenting addition, as is Janusz Kaminski’s camera, littered with wide shots of muted colours that nostalgically remind one of vintage Spielberg work. In the end, The Post is no masterpiece; it’s standard, uninspiring drama that always falls slightly short of the skilful team behind it. The points it raises boast relevance; perhaps The Post needs a less clumsy and rawer delivery, but it’s a message that still feels important when told even with middling capability. Though it certainly won’t be remembered as a Spielberg, Streep or Hanks classic, The Post is still an able piece of filmmaking that could be a nicely unchallenging evening watch.… Expand

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6

MahmusSep 25, 2020

While I feel that its attemps at being more inpsirational and emotional than other journalistic dramas mostly fall flat, when it does focus on the journalism, it's pretty riveting stuff.

It's impossible not to compare this to All theWhile I feel that its attemps at being more inpsirational and emotional than other journalistic dramas mostly fall flat, when it does focus on the journalism, it's pretty riveting stuff.

It's impossible not to compare this to All the President's Men, especially since its ending makes this somewhat of a prequel to that movie.
All the President's Men is better because it focused solely on the journalism, while this movie tries to tackle subjects like feminism, censorship, family legacies and more. It tackles some better than others and while they add some nice layers to the story, I kept wishing to know more a bout the papers and the sources and all that stuff. I also wish it focused more on the court cases.

Overall, I liked this movie and I cheered on more than one ocation, but I think its main problem may be that it's just too short. Had this been a slower, three hour long movie it may have been able to put more focus on all the details and kept it from feeling as rushed, but nonetheless, this was quite good.… Expand

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6

MattKingsburyJun 8, 2020

How can a film based on such incredible events feel this generic? While the film most certainly has its stand-out moments, Meryl Streep and Tom Hanks sadly are unable to bring to life the characters they are portraying. The score especiallyHow can a film based on such incredible events feel this generic? While the film most certainly has its stand-out moments, Meryl Streep and Tom Hanks sadly are unable to bring to life the characters they are portraying. The score especially feels generic and out of place. The direction is a net win, with beautiful shots within the film. I can't help but feel that if you want to see a film about the press uncovering the terrible secrets we try to keep under the rug, you should go and watch Spotlight instead.… Expand

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5

HeroicAge616Nov 1, 2021

The Post doesn't capitalize fully on a stellar cast and story material, but that's still enough to make a worthwhile, if occasionally dull, drama.

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