• Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

Non-Review Review: Richard Jewell

Richard Jewell is a paradox of a film, a narrative so propelled with righteous fury that it somehow misses its own point.

Clint Eastwood’s latest is his tightest and leanest narrative since Sully: Miracle on the Hudson, and this is not a coincidence. There’s considerable thematic overlap between Richard Jewell and Sully, both of which speak to themes that interest Eastwood as one of the defining American filmmakers. Like Sully, Richard Jewell is the story of an exception person who heroically saves lives only to witness the bureaucratic institutions of the state (and the press) turn upon them.

Pressing on.

Of course, Richard Jewell is quite distinct from Sully. Eastwood trades out “America’s Dad” Tom Hanks for the more ambiguous figure of Paul Walter Hauser. While Hanks is the embodiment of American decency, a clear-cut spiritual successor to Jimmy Stewart, Hauser has largely been defined by more muddy and murky roles with fantastic turns in films like I, Tonya and BlackKklansman. Indeed, the opening act of Richard Jewell leans into Hauser’s inscrutability, suggesting a more ambiguous interrogation of masculine heroism.

Unfortunately, Richard Jewell does not develop in that direction. Its early suggestions of moral complexity and anxieties about individual as much as collective authority give way to a stirring condemnation of a conspiracy to “railroad an innocent man.” This righteous fury is entirely justified, after all. The press and the authorities demonised Jewell, arguably hounding him to an early grave. However, Richard Jewell winds up so caught up in its righteous fury that it winds up “railroading” another innocent, abusing its power in the same way it accuses the press and authorities.

Lawyer up.

Continue reading