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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.

    Nicole Kidman in Bombshell.

    Nicole Kidman in Bombshell
    Photo by Hilary Bronwyn Gayle SMPSP
    Nicole Kidman in Bombshell.
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    Movie Review

    Iranian film It Was Just an Accident is a thriller with deep meaning

    Alex Bentley
    Oct 31, 2025 | 2:02 pm
    Mohamad Ali Elyasmehr, Majid Panahi, and Hadis Pakbaten in It Was Just an Accident
    Photo courtesy of Neon
    Mohamad Ali Elyasmehr, Majid Panahi, and Hadis Pakbaten in It Was Just an Accident.

    American filmmakers, for the most part, enjoy luxury and freedoms when making movies in the United States that filmmakers in other countries could only dream of. Not only does Iranian writer/director Jafar Panahi not have millions of dollars with which to make his films, he also has to deal with a government that has previously arrested him for being critical of their policies.

    And yet he persists, returning to the screen with the taut It Was Just An Accident. The film begins with a kind of misdirect, showing Eghbal (Ebrahim Azizi) and his family driving home at night, during which they strike and kill a dog. That accident sends Eghbal into the orbit of Vahid (Vahid Mobasseri), who works at a business that helps repair Eghbal’s car.

    Recognizing the distinctive sound of Eghbal’s prosthetic leg, Vahid believes him to be the same man who kidnapped and tortured him and others in a recent government arrest spree. Desperate to confirm his suspicions, Vahid kidnaps Eghbal and takes him to a series of people who were also imprisoned under the man they named “Peg Leg,” including Shiva (Mariam Afshari), a wedding photographer; Golrokh (Hadis Pakbaten), the bride being photographed; and more.

    Most filmmakers have the ability to use sets and take as much time as they need - within reason - to get the shot they need. Panahi employs a type of guerrilla filmmaking rarely seen these days, stealing shots in broad daylight while trying not to gain the notice of Iranian authorities. The daring nature of the making of the movie infuses the story with an extra tension that elevates what is otherwise a relatively simple story.

    The film puts the audience directly in the shoes of the various characters as each of them wrestles with the complicated feelings arising from their actions. As they were all blindfolded while imprisoned, they can’t be 100 percent sure they have the right man, and debates/arguments between the characters keep viewers guessing as to who he is and what they will do with him. Even if he is who they think he is, will enacting some kind of revenge on him soothe their consciences?

    Through it all, the idea that a former political prisoner is making a film about former political prisoners who are engaging in conduct that could get them arrested again - just as Panahi is doing with his film - makes this meta filmmaking on another level. The simplicity of the story belies the complexity underscoring the entire film, and it delivers one of the most impactful endings of any recent movie.

    While a few of the actors have acted before, including in previous Panahi films, most of them are making their first appearance in a movie. Despite this lack of experience, each of them does well, especially Mobasseri and Afshari, who share a number of heated scenes that bring out the best in both of them.

    It Was Just an Accident is the type of film that constantly keeps the audience on their collective toes, never knowing where it will head next. And that’s even if you didn’t know the details of how and why it was made; once that is discovered, it becomes something much deeper and more important than most other movies that will be released in 2025.

    ---

    It Was Just an Accident is now playing in select theaters.

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