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    Movie Review

    Bombshell explodes thanks to story, makeup, and performances

    Alex Bentley
    Dec 19, 2019 | 1:00 pm
    Bombshell explodes thanks to story, makeup, and performances
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    Of all of the official #MeToo stories out there, it’s no surprise that the one emanating from Fox News was the first to be told on film. In addition to the salacious allegations against former chairman and CEO Roger Ailes from bold-faced accusers, the controversial position Fox News holds in the media and political landscape make it doubly interesting.

    Bombshell begins in 2015, when the race for the 2016 Republican nomination was just starting to heat up. Megyn Kelly (Charlize Theron) decides to challenge Donald Trump on his attitude toward women at a debate that she is co-hosting. The tepid support Kelly receives after Trump’s subsequent attacks on her underscore a pervasive attitude at Fox. Ailes (John Lithgow), in both implicit and explicit terms, objectifies Fox’s on-air female talent, including a decree that they must always wear skirts to show off their legs.

    Meanwhile, Gretchen Carlson (Nicole Kidman), who had been leading a quiet revolt on her program, is fired, leading her to sue Ailes for sexual harassment. Carlson’s accusations force many in the Fox newsroom to take stock of themselves, including Kelly and Kayla Pospisil (Margot Robbie). Kayla is a fictional character meant to represent the legion of similar women whom Ailes promised promotions in return for sexual favors.

    Directed by Jay Roach and written by Charles Randolph, the film explores many avenues, never settling on one specific point of view. That’s likely because the real-life narrative is extremely complicated, with conflicting feelings from all involved. Kelly and Carlson struggle with the bargain they have made, gaining high-profile anchor roles at the expense of allowing a man like Ailes to go mostly unchallenged.

    The character of Kayla is also a conduit for the filmmakers to take digs at Fox News’ less-than-consistent nature. She spells out a laughable interpretation of their “Fair and Balanced” slogan, with one side of their on-air talent labeled as “entertainers” instead of reporters. She also shares a friendship with Jess (Kate McKinnon), a Bill O’Reilly staffer who hides the fact that she’s a lesbian and a Democrat in order to keep her position in a tough market.

    Aside from that, though, Roach and Randolph mostly eschew politics in favor of keeping the story focused on the toxic sexual culture at Fox News. Multiple other Fox personalities make appearances, with most of them taking the side of Ailes until it becomes apparent that that position is untenable.

    When the first trailer for Bombshell was released, it was shocking how much Theron looked like Kelly. The filmmakers didn’t stop there, though, as it seems they spent a lot time making sure the makeup for certain other people was as accurate as possible. From Ailes to Bill O’Reilly to Jeanine Pirro to Greta Van Susteren, they put a lot of effort into re-creating the looks of everyone associated with Fox News.

    Theron, who also serves as producer, is the undisputed star of the movie. She doesn’t just look like Kelly, she also sounds like her, and the combination of makeup and acting skill is downright amazing. Kidman plays Carlson as somewhat of an enigma, and the role never pops as a result. Robbie has a magnetism that has served her well in almost everything she’s done, and she winds up being the emotional core of the film.

    The film is also downright lousy with well-known actors willing to pop up for glorified cameos. They include Allison Janney, Mark Duplass, Alice Eve, Richard Kind, Holland Taylor, Malcolm McDowell, and more. Finding out what famous person is playing what role is often a dose of levity in a film with such a serious subject.

    Now several years later and with multiple other high-profile #MeToo revelations having come out, the events at the center of Bombshell are no longer shocking. But that doesn’t make a recounting of them any less necessary, even with the setting of Fox News sure to muddy the waters for a certain segment of viewers.

    Charlize Theron and Liv Hewson in Bombshell.

    Charlize Theron and Liv Hewson in Bombshell
    Photo by Hilary Bronwyn Gayle SMPSP
    Charlize Theron and Liv Hewson in Bombshell.
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    Movie Review

    Jessica Chastain drama Dreams stumbles through steamy romance

    Alex Bentley
    Feb 27, 2026 | 1:30 pm
    Isaac Hernández and Jessica Chastain in Dreams
    Photo courtesy of Teorema
    Isaac Hernández and Jessica Chastain in Dreams.

    The opening scenes of the new drama Dreams are bracing, fictional sequences that call to mind real-life scenarios. In them, a young Mexican man named Fernando (Isaac Hernández) goes through a somewhat harrowing journey from the back of a semi truck in South Texas all the way to San Francisco. It’s a familiar immigrant story that seems to set the stage for a film with something interesting to say.

    It turns out, however, that Fernando has not made the long and arduous trek for a job. Instead, it’s to be with Jennifer McCarthy (Jessica Chastain), a rich woman who helps lead a foundation dedicated to multiple things, including funding dance academies. Fernando, a talented dancer, and Jennifer have been in an off-and-on affair for years, with Jennifer wanting to keep their relationship a secret.

    Although both are drawn to each other in an inexplicable, lustful way, their bond is tenuous, with each of them dissatisfied for different reasons. Fernando clearly sacrifices much more of himself than Jennifer, who wants for nothing except maybe more affection from her father, Michael (Marshall Bell), and brother, Jake (Rupert Friend).

    Writer/director Michel Franco seems to try to inject tension into Fernando and Jennifer’s relationship from the start, an attempt that is only halfway successful. It’s clear from the way they greet each other - not to mention a steamy sex scene shortly thereafter - that they have known each other for a good length of time. Franco is able to get across this familiarity with an economy of scenes, and the intensity of their bond holds for a while.

    But as the film progresses and both of them grow disenchanted with their arrangement, Franco starts taking the story in some odd directions. The biggest issue is that it’s never clear at what point in time the story is taking place. Fernando ends up making multiple trips back and forth across the border, with Jennifer doing the same at one point, and Franco’s use of flashbacks muddies the waters, wrong-footing the audience when he should be trying to draw them further into Fernando and Jennifer’s complications.

    Revelations in the final act make the story even more confusing, as both main characters start saying and doing harsh things that seem to come out of nowhere. That would be all well and good if Franco actually committed to their changes of heart, but he keeps things wishy-washy for most of the final 15 minutes, resulting in an ending that makes little sense for either character.

    Despite the story issues, both Chastain and Hernández give compelling performances. Chastain has been a little under the radar since winning an Oscar for The Eyes of Tammy Faye, but she keeps this character interesting longer than it should have been. Hernández has limited credits and appears to have been cast for his dancing ability, but he goes toe-to-toe with Chastain on more than one occasion and acquits himself well.

    Dreams had all of the ideas to explore a more in-depth story about the complicated immigration policies between Mexico and the U.S., or how wealthy people take advantage of those less fortunate. But Franco never finds the right footing, settling instead for a titillating and somewhat mystifying relationship story that feels half-baked.

    ---

    Dreams is now playing in select theaters.

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