Rating: 3.5/5 Stars

In the past few years, the role of the media in relation to our current political climate has been relentlessly debated. Some would argue that journalists in our modern era hold no integrity and only serve biased political dogma or perpetuate “fake news.” Others would contend our media is integral in keeping our leaders and representatives in check and held accountable for their actions.

This ongoing debate is one of the many reasons why films like “The Post” exist. Rushed into production by legendary filmmaker Steven Spielberg (“The BFG”), “The Post” is a film that examines the correlation between the press and the government, as well as the difficulties that surround newspaper production in the middle of the 20th century. Set during the backdrop of the Vietnam War, “The Post” covers the events surrounding the leaking of the classified Pentagon Papers and the legal battle that ensued between the free press and the Nixon administration.

These events are seen through two figures: Ben Bradlee (Tom Hanks, “The Circle”), editor-in-chief of The Washington Post, and Kay Graham (Meryl Streep, “Florence Foster Jenkins”), owner and publisher of the paper based out of Washington, D.C. As always, Hanks and Streep are excellent in their roles, as they both distinguish the stresses from the trials of tribulations behind maintaining a nationwide publication, as well as deal with the political backlash. Streep in particular is expected to be nominated for her performance at this year’s Academy Awards, her 17th nomination overall.

“The Post” also boasts a very talented and stacked supporting cast. Standouts include Bob Odenkirk (“The Disaster Artist”) as journalist Ben Bagdikian, Bruce Greenwood  (“Gerald’s Game”) as Secretary of Defense Robert McNamara, Matthew Rhys (“Burnt”) as leaker Daniel Ellsberg, Sarah Paulson (“Rebel in the Rye”) as Bradlee’s wife, Alison Brie (“The Little Hours”) as the daughter of Graham and David Cross (“Folk Hero & Funny Guy”) as the managing editor of the Post.

Despite the talented cast, however, one of the film’s faults is that not every actor has their own moment to shine. Many of the talented actresses that are featured end up being wasted. Paulson and Brie especially are limited to roles that turn out to be being nothing more than cameos. To the movie’s credit, the film is not about them but about the drama surrounding the Pentagon Papers and political chaos that followed.

“The Post” also takes a while to get going. The film begins with a literal bang, but it slows down once viewers are introduced to the main characters. One third of the film centers around the operations of a newspaper company, which may interest those in journalism careers but will be sure to bore more of the general audience. Once the Pentagon Papers land in The Washington Post’s lap, however, the film picks up and becomes an enthralling and deeply engrossing experience.

Longtime Spielberg collaborator John Williams (“Star Wars: The Last Jedi”) returns to score, and even though it is far from Williams’ best work, the subdued nature of the music really complements the film’s serious tone.

Fans of Spielberg, history and journalism should definitely check out “The Post.” Everybody else should know what they are getting in to, as the film may bore casual viewers. “The Post” is not Spielberg’s best, but it is definitely worth checking out at least once.

This review is dedicated to Lee Norris. May his memory live on forever.

Image from 20th Century Fox via YouTube.com