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Tomatometers=7,9 of 10 star Resume=American security guard Richard Jewell saves thousands of lives from an exploding bomb at the 1996 Olympics, but is vilified by journalists and the press who falsely reported that he was a terrorist countries=USA Brandon Stanley Year=2019 Directed by=Clint Eastwood. I have to respond to all of the stories about a poor opening weekend. I want to see this movie but i don't go to theaters anymore. I wait for the stream release. I believe that is true for much of the demographic that this movie was made for. Release the Snyder cut. Richard jewell movie cast. Richard jewell movie online. The movie slanders a dead report who cannot defend themselves. The movie is a flop. Its only had a 5 million dollar opening.
I cannot imagine what this guy went through. American hero destroyed by America True American Hero! ??. This truly one of the lowest points in the history of the FBI. Instead of grinding through a lengthy criminal investigation to get the truth; they decided to go the quick and easy way. The result: this mans life was ruined. Richard jewell movie trailer reaction. Richard jewell movie showing. Richard jewell movie soundtrack. I came to watch the trailer to Richard Jewell movie and right before the video, an ad played of a trailer for the Richard Jewell movie. LOL. Guess what, all bombing and mass shootings in the US, are inside jobs. Should get nominations.
Costas is a class act. I wish fox could trade him for Buck
The medias the most powerful entity on earth. They have the power to make the innocent guilty and to make the guilty innocent, and thats power. Because they control the minds of the masses. Malcom X. Not my favorite person, but he was right. When I first saw the trailer for this, I immediately thought it would be a great film that the media would hate. Is anyone surprised I was right. Richard jewell movie locations. Richard jewell movie bomb scene. This is really eerie for me b/c I actually remember Tom Brokaw reporting that the FBI had enough to prosecute & convict him. So sad. Richard jewell movie controversy. Richard jewell movie rating. 
Hey Watchmojo com, thanks for the amazing performance in Youtube Rewinds 2019. You acted so well as a top 10 list. | Glenn Kenny December 13, 2019 In his landmark 1968 study of the American director Howard Hawks, the critic Robin Wood identified a key theme in Hawks' work: “the lure of irresponsibility. ” As a filmmaker Clint Eastwood is possibly more a William Wellman man than a Hawks one, but some of his pictures, most explicitly 1993’s “ A Perfect World, ” partake of a Hawksian dynamic. His new movie “Richard Jewell, ” about the man who did heroic service at a terrorist bombing in Atlanta during the 1996 Olympics, only to face accusations of staging the bombing itself, is about a number of things, and the lure of irresponsibility is among them. Advertisement It’s not a lure to which the title character is immune. An early scene in this fleet, densely textured drama shows Jewell, played by Paul Walter Hauser with an empathy that seems genuinely lived-in, working as a college security guard. Derisively referred to as a “rent-a-cop” by students, he in turn inappropriately lords it over them. A meeting with a dean ends with the academic saying “Do you want to resign, or would it be better if I fired you? ” Years later, hired as a freelance security guard by AT&T, an Olympic Sponsor, to monitor music events at Centennial Park, Jewell is similarly heavy-handed, which actually proves useful when an actual pipe bomb explodes at an event. His work at securing a perimeter, as the pros call it, actually saves lives, and the less-than-socially adept Jewell is soon talking to Katie Couric on “The Today Show. ” The adulation won’t last. Jon Hamm ’s Tom Shaw, an FBI agent who had been at the site when the bomb went off, is assigned to look into Jewell. It’s standard procedure. On-site “heroes” who actually precipitate the event at which they act heroically are sadly not uncommon. But Shaw’s sense of having dropped the ball seems to inspire a rash zealousness. Shaw’s feelings of wanting to have sex with an attractive woman lead him to give Jewell’s name to Kathy Scruggs, a reporter for the Atlanta Journal Constitution who has aggressive methods of cultivating sources. On learning that Jewell’s a target, Scruggs, played with nearly-disturbing aggressive exuberance by Olivia Wilde, exclaims “That fat fuck lives with his mother, of course. ” And Jewell, who does indeed live with his mother?played by Kathy Bates, who eventually steals the movie?now sees his life implode. A man with a near-irrational respect for law enforcement, he either looks on dumbly or says the wrong thing as FBI automatons remove his mother’s underwear from their apartment and trembles with mute hurt as Tom Brokaw, who days before had praised him, smugly pronounces that the FBI is close to having enough to “nail” the innocent man. Soon, with the help of G. Watson Bryant,?a relatively down-at-his-heels lawyer that Jewell knew when he was a supply clerk?played with such seamlessness by Sam Rockwell that you almost don’t notice just how good he is, which is very?Jewell begins to fight back. Eastwood’s conceptions of heroism and villainy have always been, if not endlessly complex, at least never simplistic. One thing he’s not is a moral relativist; he clearly believes in good and evil, and in good actors and bad actors. And so he, working from a script by Billy Ray (who treated journalistic malfeasance in his fact-based 2003 picture “ Shattered Glass ”), is unapologetic in making the bad actors here, Jon Hamm’s FBI agent and Olivia Wilde’s aggressive and callous reporter, pretty much bad to the bone. They both have their reasons, of course. Hamm’s character is seething with resentment that the bombing happened on his watch, so to speak, and has made Jewell the target of that rage. Wilde’s Scruggs is a scoop machine who keeps acting on the notion that she’s got something to prove, which, as a woman in a largely male newsroom she probably, unfairly, did. But having reasons doesn’t make you right, and these two characters are very wrong. Eastwood’s unabashed and unmediated depiction of Wilde’s character in particular can’t be anything but a deliberate provocation. Do you feel that the Scruggs portrayed here is a sexist stereotype, a tired trope? Eastwood’s answer reminds one of a 2016 Trump campaign t-shirt (unofficial, I think): “Fuck Your Feelings. ” The ace that Eastwood has in the hole is that whatever you think, what happened to Richard Jewell happened. The feeding frenzy around his story almost killed him, and Eastwood depicts this in a manner that’s indignant while never running off the rails. It is true that the Atlanta Journal Constitution prevailed in Jewell’s lawsuit against them (several other outlets settled), but they won on the grounds that the facts as the paper reported them at the time were accurate. The First Amendment is the First Amendment, yes?the irresponsibility is in the tone with which the story was pushed, the contempt with which Jewell was both portrayed and treated. And as much as Eastwood finds to condemn in the movie’s designated villains, he does not deliver any comeuppances to them in the end. Which is merciful in the context of fiction, and kind of the mordant point in the context of fact. 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This is such a well made trailer holy shit.
In a nice way. dont take it personal but they are annoying. I think i hate Bob Costas more than Joe Buck. Um. Close. Both non-athletic douche bags that cover sports. Mr Costas you are the real hero. Puke. Richard jewell movie times. Richard Jewell.
Richard jewell movie actors. Richard Jewell movie maker. All because he wanted to help with the investigation! No good deed goes unpunished profiling that is what this was. Richard jewell movie trailer music. ?? I just seen the movie today and it was fantastic, the corrupt media working with the FBI in the government to try to frame somebody and get caught doing it, it goes to show how they are so corrupt and Donald Trump being a regular guy and not part of the mainstream government and part of the swamp scares the shit out of them and that is why they're trying to frame Trump for anything possible but in the meantime Donald Trump has his country at The best it has been in 59 years, God bless Donald Trump and fuck you media.
Just saw the film, it should sweep the Oscars. This movie confirms what we already ernment (specifically the FBI) and media corruption. Sad how biased and crooked our once trusted institutions have become. They really savaged this poor security guard and put him through hell to concoct a narrative that wasn't true. Kathy Bates as Jewell's mother was excellent, as always. The Hollywood critics and media types may not like this movie but that's to be expected. It exposes them, after all. Pay no attention to their negativity and be sure to see another Eastwood great film. This movie is a great wake up call about the media. I wasn't going to leave a review until I read the media outcry about the film. I believe in a strong and free media but for all the good can they do, they can also be a self-serving destructive force.
Richard Jewell movie page imdb. Not they took her damn Tupperware... wtf. Richard jewell movie wiki.
O nce upon a time, being an American right-winger meant unconditional support for law enforcement. There was no overreach cops could engage in in the pursuit of justice; there was no injustice cops could commit in the name of law and order. Cops could do no wrong. Does that cease to be the case when the innocent person fingered and investigated by cops is a white man? Or ? oh, wait a second now ? is the bad ol’ FBI suddenly fair game for “conservatives” now that Donald Trump doesn’t like the agency and throws regular public tantrums directed at them? Once upon a time, Clint Eastwood, a notoriously outspoken conservative in supposedly liberal Hollywood, had no problem at all with cops who employed their own unconventional extralegal brand of law enforcement (see: all those Dirty Harry movies). Today, in Richard Jewell, he really doesn’t like the FBI, even though the filmmaker doesn’t even suggest that the agency did anything more than act in the sort of aggressive way that conservative philosophy generally condones as perfectly acceptable, particularly in response to an act of terrorism. Bizarrely, Eastwood ( The Mule, The 15:17 to Paris) and screenwriter Billy Ray ( Terminator: Dark Fate, Gemini Man) don’t seem to have any interest whatsoever in depicting security guard Richard Jewell as anything other than a completely reasonable suspect for the FBI to home in on after a bomb is detonated in the Olympic Park in Atlanta in the summer of 1996, killing two people and injuring many more. Jewell (Paul Walter Hauser: Late Night, I, Tonya) comes across as a simpleton with a fixation on police work, a man who has failed in a career in law enforcement, a wannabe hanger-on and an object of ridicule to real cops. As a university rent-a-cop in the years before the Atlanta bombing ? cheerfully shown here ? he constantly abuses the small amount of authority he has and feels put upon for being reprimanded for it. We, the audience, may see that Jewell does nothing at all criminal, and we may know that he had absolutely nothing to do with the bombing ? in fact, he saved many lives by raising the alarm and evacuating people from the area ? but there’s also not a single thing here to counter the notion that he looked legitimately suspicious to the FBI and that they investigated him in good faith. Without any alteration whatsoever, Jon Hamm’s ( Bad Times at the El Royale, Beirut) lead investigating FBI agent could be the hero here, though he is shoehorned into a villain slot. And yet the man the movie wants to champion is a lazily drawn, stereotypical Hollywood doofus. Even given all that, it’s difficult to get past the feeling that Eastwood, with a style that is even more cluelessly simplistic than his other work of late, is pointlessly striving to exonerate a man who *checks notes* was exonerated by the FBI almost immediately after they concluded that he was not involved in the bombing… again, as plainly and clearly depicted here. Jewell was never charged, never even arrested. He was treated appallingly by the press, Eastwood’s other Big Baddie. There’s an undertone of railing at the “Fake News” in Richard Jewell, though that hardly tracks, either: When the newspaper The Atlanta Journal-Constitution names Jewell as the FBI’s main suspect, igniting a media shitstorm that engulfs Jewell and his mother, Bobi (Kathy Bates: On the Basis of Sex, Bad Santa 2), with whom he lives, there’s nothing fake about it: it’s true. The relevant bit of the Richard Jewell story ? the explosion of media interest that coalesced around a man who turned out to be wholly innocent ? is but a sideshow in Richard Jewell, one that ignores all the context in which it happens. There’s zero appreciation for how this was the beginning of the 24/7 news cycle and cable news that was coming to rely more on sensational “breaking news” rather than in-depth, carefully reported journalism. (The infamous OJ Simpson white-Bronco chase, arguably the instigating event for this new kind of “urgent” live TV, occurred only two years before this. ) There absolutely is criticism of the media to be examined here, but Richard Jewell isn’t up to the task. Instead, it cheaply invents an AJC reporter (Olivia Wilde: Love the Coopers, The Lazarus Effect) who trades sex with Hamm’s FBI agent, with the implication that this is her usual modus operandi, in exchange for Jewell’s name as their suspect. This is an appalling slander on the real journalist who broke the story, Kathy Scruggs ? the film even uses that name, while Hamm’s character appears to be a composite with an invented name ? a woman who is no longer around to defend herself. (She died in 2001. ) The film also implies that she didn’t even write her own article but handed over that chore to a male reporter. Instead of doing the tougher job of looking at the breakdown of the entire media ecosystem in the late 1990s, Richard Jewell concocts sexist bullshit that demonizes the one journalist in this whole debacle who acted most professionally. The February 1997 Vanity Fair article that is partly the basis for Ray’s script ? “American Nightmare: The Ballad of Richard Jewell, ” by Marie Brenner ? touches on some of the problems of the management philosophy at AJC, in the tone and approach to its journalism, that contributed to the terrible situation that Jewell found himself in the middle of. The article also does a good job of conveying how under siege Jewell and his mother felt at the time from not only the hounding of reporters outside their home but the pile-on by all media, including talk shows and late-night comics. That’s the true injustice of this tale, and this movie skims right past it. (The other source material is the book The Suspect, by Kent Alexander and Kevin Salwen. ) Ironically, Wilde’s performance is one of the highlights of this otherwise intensely bland and directionless movie; even Sam Rockwell ( Poltergeist, Laggies) as Jewell’s lawyer is pretty muted, though he and Wilde do briefly spar entertainingly. They are but a momentary respite, however from a story too poorly structured and too seemingly unaware of its own core to any sort of point at all. Richard Jewell fails even as a conservative screed… and that’s a pretty low bar. Click here for my ranking of this and 2019’s other theatrical releases.
Richard jewell movie reviews.
Coauthor: Callum Rawlings
Biography: I ramble on about sneakers and OUFC
Hey Watchmojo com, thanks for the amazing performance in Youtube Rewinds 2019. You acted so well as a top 10 list. | Glenn Kenny December 13, 2019 In his landmark 1968 study of the American director Howard Hawks, the critic Robin Wood identified a key theme in Hawks' work: “the lure of irresponsibility. ” As a filmmaker Clint Eastwood is possibly more a William Wellman man than a Hawks one, but some of his pictures, most explicitly 1993’s “ A Perfect World, ” partake of a Hawksian dynamic. His new movie “Richard Jewell, ” about the man who did heroic service at a terrorist bombing in Atlanta during the 1996 Olympics, only to face accusations of staging the bombing itself, is about a number of things, and the lure of irresponsibility is among them. Advertisement It’s not a lure to which the title character is immune. An early scene in this fleet, densely textured drama shows Jewell, played by Paul Walter Hauser with an empathy that seems genuinely lived-in, working as a college security guard. Derisively referred to as a “rent-a-cop” by students, he in turn inappropriately lords it over them. A meeting with a dean ends with the academic saying “Do you want to resign, or would it be better if I fired you? ” Years later, hired as a freelance security guard by AT&T, an Olympic Sponsor, to monitor music events at Centennial Park, Jewell is similarly heavy-handed, which actually proves useful when an actual pipe bomb explodes at an event. His work at securing a perimeter, as the pros call it, actually saves lives, and the less-than-socially adept Jewell is soon talking to Katie Couric on “The Today Show. ” The adulation won’t last. Jon Hamm ’s Tom Shaw, an FBI agent who had been at the site when the bomb went off, is assigned to look into Jewell. It’s standard procedure. On-site “heroes” who actually precipitate the event at which they act heroically are sadly not uncommon. But Shaw’s sense of having dropped the ball seems to inspire a rash zealousness. Shaw’s feelings of wanting to have sex with an attractive woman lead him to give Jewell’s name to Kathy Scruggs, a reporter for the Atlanta Journal Constitution who has aggressive methods of cultivating sources. On learning that Jewell’s a target, Scruggs, played with nearly-disturbing aggressive exuberance by Olivia Wilde, exclaims “That fat fuck lives with his mother, of course. ” And Jewell, who does indeed live with his mother?played by Kathy Bates, who eventually steals the movie?now sees his life implode. A man with a near-irrational respect for law enforcement, he either looks on dumbly or says the wrong thing as FBI automatons remove his mother’s underwear from their apartment and trembles with mute hurt as Tom Brokaw, who days before had praised him, smugly pronounces that the FBI is close to having enough to “nail” the innocent man. Soon, with the help of G. Watson Bryant,?a relatively down-at-his-heels lawyer that Jewell knew when he was a supply clerk?played with such seamlessness by Sam Rockwell that you almost don’t notice just how good he is, which is very?Jewell begins to fight back. Eastwood’s conceptions of heroism and villainy have always been, if not endlessly complex, at least never simplistic. One thing he’s not is a moral relativist; he clearly believes in good and evil, and in good actors and bad actors. And so he, working from a script by Billy Ray (who treated journalistic malfeasance in his fact-based 2003 picture “ Shattered Glass ”), is unapologetic in making the bad actors here, Jon Hamm’s FBI agent and Olivia Wilde’s aggressive and callous reporter, pretty much bad to the bone. They both have their reasons, of course. Hamm’s character is seething with resentment that the bombing happened on his watch, so to speak, and has made Jewell the target of that rage. Wilde’s Scruggs is a scoop machine who keeps acting on the notion that she’s got something to prove, which, as a woman in a largely male newsroom she probably, unfairly, did. But having reasons doesn’t make you right, and these two characters are very wrong. Eastwood’s unabashed and unmediated depiction of Wilde’s character in particular can’t be anything but a deliberate provocation. Do you feel that the Scruggs portrayed here is a sexist stereotype, a tired trope? Eastwood’s answer reminds one of a 2016 Trump campaign t-shirt (unofficial, I think): “Fuck Your Feelings. ” The ace that Eastwood has in the hole is that whatever you think, what happened to Richard Jewell happened. The feeding frenzy around his story almost killed him, and Eastwood depicts this in a manner that’s indignant while never running off the rails. It is true that the Atlanta Journal Constitution prevailed in Jewell’s lawsuit against them (several other outlets settled), but they won on the grounds that the facts as the paper reported them at the time were accurate. The First Amendment is the First Amendment, yes?the irresponsibility is in the tone with which the story was pushed, the contempt with which Jewell was both portrayed and treated. And as much as Eastwood finds to condemn in the movie’s designated villains, he does not deliver any comeuppances to them in the end. Which is merciful in the context of fiction, and kind of the mordant point in the context of fact. 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This is such a well made trailer holy shit.
In a nice way. dont take it personal but they are annoying. I think i hate Bob Costas more than Joe Buck. Um. Close. Both non-athletic douche bags that cover sports. Mr Costas you are the real hero. Puke. Richard jewell movie times. Richard Jewell.
Richard jewell movie actors. Richard Jewell movie maker. All because he wanted to help with the investigation! No good deed goes unpunished profiling that is what this was. Richard jewell movie trailer music. ?? I just seen the movie today and it was fantastic, the corrupt media working with the FBI in the government to try to frame somebody and get caught doing it, it goes to show how they are so corrupt and Donald Trump being a regular guy and not part of the mainstream government and part of the swamp scares the shit out of them and that is why they're trying to frame Trump for anything possible but in the meantime Donald Trump has his country at The best it has been in 59 years, God bless Donald Trump and fuck you media.Just saw the film, it should sweep the Oscars. This movie confirms what we already ernment (specifically the FBI) and media corruption. Sad how biased and crooked our once trusted institutions have become. They really savaged this poor security guard and put him through hell to concoct a narrative that wasn't true. Kathy Bates as Jewell's mother was excellent, as always. The Hollywood critics and media types may not like this movie but that's to be expected. It exposes them, after all. Pay no attention to their negativity and be sure to see another Eastwood great film. This movie is a great wake up call about the media. I wasn't going to leave a review until I read the media outcry about the film. I believe in a strong and free media but for all the good can they do, they can also be a self-serving destructive force.
This movie nicely brings that point across without getting into politics. Perhaps if Eastwood hadn't used real names of reporters and newspapers, there might have been less media blowback. But. it's kind of like they're getting a taste of their own medicine. So it's unfortunate that they're targeted - perhaps with some fictionalization, but you can see how they scramble and plead "unfair" when the tables are turned. like they were with Jewell. I remember the news reports about Richard Jewell when the bombing occurred. I only recall that he was said to have discovered something about the bombing and then he was suddenly in trouble for being the prime suspect. The impression I got was that he was a troubled person and guilty. never heard what happened afterward and never gave it any more thought. It was amazing to watch this movie and see the events that actually transpired. It's definitely a worthwhile movie to see because it's both captivating and based on real events. Keep in mind that like any movie, some aspects are fictionalized, but the core story isn't. It's scary and real.Clint Eastwood is an American legend. His movies are some of my favorites. He's the best. This Man is a HERO. I'm a vegan bodybuilder with a YouTube channel. So its pretty spot on and the only thing the media has its panties ruffled about is the implication as to how Scruggs got her information. She never said how as the media hides behind not revealing sources as sometimes the stories are manufactured to sell news.
Richard Jewell movie page imdb. Not they took her damn Tupperware... wtf. Richard jewell movie wiki.
Same thing happened in Las Vegas (1OCTOBER) STEVENPADDOCK was dead before the shooting, see when a professional gambler hits a million hes not going to do that, he had a complimentary room when the comp was gone he paid, so the casino knew where he was and orchestrated the shooting, SHERRIFF LOMBARDO LIES AND THE WHOLE LAS VEGAS POLICE DEPARTMENT AND MAYOR (CAROLGOODMAN) CORRUPTCAROL ARE ALL CORRUPT. I guess human trafficking wasnt enough money for these casinos they had to murder innocent people Hey, isnt that how #VEGAS was built. And everyone loves it! SMH.Richard jewell movie poster. It rhymes. ??????????? oh and BTW, winter Olympics are soooooo much better ?. Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies. Type the characters you see in this image: Try different image Conditions of Use Privacy Policy © 1996-2014,, Inc. or its affiliates. This scalding examination of the power that the US media and federal government wields, fits seamlessly in director Clint Eastwood ’s current wheelhouse. His disdain for the erosion of what he sees as the true America with its sense of fairness and justice has given him a great story to tell with the true life tale of Richard Jewell. Jewell was the security guard who was falsely accused of the 1996 Olympic Park bombing in Atlanta, Georgia. The FBI in a rush to solve the case came up with a profile and then twisted the facts to fit their created scenario. And even though Jewell was never formally charged, the media picked up on the story and he was tried, convicted and sentenced in the press. Eastwood’s direction is even handed and Paul Walter Hauser (I, Tonya and BlacKkKlansman) delivers what is by all available information an accurate portrayal of Richard Jewell and his calm demeanour but his almost complete lack of outrage over the false accusations drain the proceedings of drama. Even if this element was faithfully presented, we as an audience, right or wrong, have come to expect more fireworks and drama from these miscarriage of justice stories. Without the overstatement of anger, what we are left with that makes an impact are the close ups of the relationships that Jewell had with his mother (played by Kathy Bates) and his lawyer Watson Bryant ( Sam Rockwell). Both Bates and Rockwell are outstanding and provide the emotional core of the movie. As an exercise in acting, Richard Jewell is top shelf, as a damning demonstration of the excesses that both the media and the FBI are capable of, the film is less engaging. Rob Hudson.
O nce upon a time, being an American right-winger meant unconditional support for law enforcement. There was no overreach cops could engage in in the pursuit of justice; there was no injustice cops could commit in the name of law and order. Cops could do no wrong. Does that cease to be the case when the innocent person fingered and investigated by cops is a white man? Or ? oh, wait a second now ? is the bad ol’ FBI suddenly fair game for “conservatives” now that Donald Trump doesn’t like the agency and throws regular public tantrums directed at them? Once upon a time, Clint Eastwood, a notoriously outspoken conservative in supposedly liberal Hollywood, had no problem at all with cops who employed their own unconventional extralegal brand of law enforcement (see: all those Dirty Harry movies). Today, in Richard Jewell, he really doesn’t like the FBI, even though the filmmaker doesn’t even suggest that the agency did anything more than act in the sort of aggressive way that conservative philosophy generally condones as perfectly acceptable, particularly in response to an act of terrorism. Bizarrely, Eastwood ( The Mule, The 15:17 to Paris) and screenwriter Billy Ray ( Terminator: Dark Fate, Gemini Man) don’t seem to have any interest whatsoever in depicting security guard Richard Jewell as anything other than a completely reasonable suspect for the FBI to home in on after a bomb is detonated in the Olympic Park in Atlanta in the summer of 1996, killing two people and injuring many more. Jewell (Paul Walter Hauser: Late Night, I, Tonya) comes across as a simpleton with a fixation on police work, a man who has failed in a career in law enforcement, a wannabe hanger-on and an object of ridicule to real cops. As a university rent-a-cop in the years before the Atlanta bombing ? cheerfully shown here ? he constantly abuses the small amount of authority he has and feels put upon for being reprimanded for it. We, the audience, may see that Jewell does nothing at all criminal, and we may know that he had absolutely nothing to do with the bombing ? in fact, he saved many lives by raising the alarm and evacuating people from the area ? but there’s also not a single thing here to counter the notion that he looked legitimately suspicious to the FBI and that they investigated him in good faith. Without any alteration whatsoever, Jon Hamm’s ( Bad Times at the El Royale, Beirut) lead investigating FBI agent could be the hero here, though he is shoehorned into a villain slot. And yet the man the movie wants to champion is a lazily drawn, stereotypical Hollywood doofus. Even given all that, it’s difficult to get past the feeling that Eastwood, with a style that is even more cluelessly simplistic than his other work of late, is pointlessly striving to exonerate a man who *checks notes* was exonerated by the FBI almost immediately after they concluded that he was not involved in the bombing… again, as plainly and clearly depicted here. Jewell was never charged, never even arrested. He was treated appallingly by the press, Eastwood’s other Big Baddie. There’s an undertone of railing at the “Fake News” in Richard Jewell, though that hardly tracks, either: When the newspaper The Atlanta Journal-Constitution names Jewell as the FBI’s main suspect, igniting a media shitstorm that engulfs Jewell and his mother, Bobi (Kathy Bates: On the Basis of Sex, Bad Santa 2), with whom he lives, there’s nothing fake about it: it’s true. The relevant bit of the Richard Jewell story ? the explosion of media interest that coalesced around a man who turned out to be wholly innocent ? is but a sideshow in Richard Jewell, one that ignores all the context in which it happens. There’s zero appreciation for how this was the beginning of the 24/7 news cycle and cable news that was coming to rely more on sensational “breaking news” rather than in-depth, carefully reported journalism. (The infamous OJ Simpson white-Bronco chase, arguably the instigating event for this new kind of “urgent” live TV, occurred only two years before this. ) There absolutely is criticism of the media to be examined here, but Richard Jewell isn’t up to the task. Instead, it cheaply invents an AJC reporter (Olivia Wilde: Love the Coopers, The Lazarus Effect) who trades sex with Hamm’s FBI agent, with the implication that this is her usual modus operandi, in exchange for Jewell’s name as their suspect. This is an appalling slander on the real journalist who broke the story, Kathy Scruggs ? the film even uses that name, while Hamm’s character appears to be a composite with an invented name ? a woman who is no longer around to defend herself. (She died in 2001. ) The film also implies that she didn’t even write her own article but handed over that chore to a male reporter. Instead of doing the tougher job of looking at the breakdown of the entire media ecosystem in the late 1990s, Richard Jewell concocts sexist bullshit that demonizes the one journalist in this whole debacle who acted most professionally. The February 1997 Vanity Fair article that is partly the basis for Ray’s script ? “American Nightmare: The Ballad of Richard Jewell, ” by Marie Brenner ? touches on some of the problems of the management philosophy at AJC, in the tone and approach to its journalism, that contributed to the terrible situation that Jewell found himself in the middle of. The article also does a good job of conveying how under siege Jewell and his mother felt at the time from not only the hounding of reporters outside their home but the pile-on by all media, including talk shows and late-night comics. That’s the true injustice of this tale, and this movie skims right past it. (The other source material is the book The Suspect, by Kent Alexander and Kevin Salwen. ) Ironically, Wilde’s performance is one of the highlights of this otherwise intensely bland and directionless movie; even Sam Rockwell ( Poltergeist, Laggies) as Jewell’s lawyer is pretty muted, though he and Wilde do briefly spar entertainingly. They are but a momentary respite, however from a story too poorly structured and too seemingly unaware of its own core to any sort of point at all. Richard Jewell fails even as a conservative screed… and that’s a pretty low bar. Click here for my ranking of this and 2019’s other theatrical releases.
Richard jewell movie reviews.
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Coauthor: Callum Rawlings
Biography: I ramble on about sneakers and OUFC
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