One of the most celebrated war correspondents of our time, Marie Colvin is an utterly fearless and rebellious spirit, driven to the frontline of conflicts across the globe to give voice to the voiceless.
The story of Dick Cheney, an unassuming bureaucratic Washington insider, who quietly wielded immense power as Vice President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
Gary Hart, a U.S. senator from Colorado, is the widely accepted front-runner in the race for the Democratic presidential nomination. After losing the 1984 nomination to vice-president Walter Mondale, Hart decides to run for President of the United States. At one point during his campaign, against the will of his manager Bill Dixon, Hart challenges the press and public to "follow him around" while he's not campaigning on weekends. This proves to be a mistake when in 1987, photos of him and journalist Donna Rice are published by Miami Herald Reporters. In a desperate attempt to clear his name, Hart tries to fix his reputation at a news event concerning the affair but to no avail. Because of the consequences of his actions, Hart is disgraced, berated by Dixon, and forced to drop out of the campaign while his wife Oletha remains to be close with him. Donna also announces that she has personally denied sleeping with the now former senator..
Bill Burr noted in an interview how convincingly angry Hugh Jackman looked in one particular scene that it he instantly thought he was with Wolverine and initially felt genuine fear. Murphy can be seen dropping his notebook on the ground in response, which wasn't planned in the original script. This candid reaction was left in the final cut. See more »
The film begins in 1984 then the screen displays "4 years later" but it actually picks up in early 1987. See more »
We're talking about how you get through today without pissing away everything we've all worked for on this campaign! If you lose this, we can kiss the White House goodbye.
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There is no 'outsider' in Reitman's worlds making Hart's even smallest transgression a true betrayal to everyone. In this way it's a self-portrait amongst his middlebrow dad-flicks. See how Jason Reitman himself was a privileged front runner in nepotism. The guilty conscience runs through this: any time it comes near the topic of his guilt he lashes out. He dismisses. He gaslights. Reitman's guilty conscience I suspect reflects against his father, with the hypocrisy of his family's privilege meeting their trademark everyman tone. Then Jackman -is- the subversive element secretly within this show business world: "Can we speak of the issues instead?" Ignoring his privilege is the issue to embody... The Everyman. As the frame of theater requires subversion, the areas Reitman opens into auteur, it's like he finally woke up cinematically from point and shoot sitcoms after however many movies--but the meta-doses of visible craft are not inappropriate about the sneaky mechanism hiding behind Hart as a fraud, as well attempts justifying Reitman as a great director, succeeding with its considerable beautiful cinematography (the power of 35mm to heighten its subject into myth which the film plays with). The Amateur... grows up. The point is he really has little to hide, he is far too hard on himself, making the film incredibly slight. In stories like these the other half has to be weighted equally, such as a journalist protecting a source and losing everything for their principles. So it feels like bizarro world that he would pretend it doesn't matter.
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