Tag Archives: FBI

THE REPORT presents a horrifying picture of American extremism that needs to be studied… and then never repeated again.

The years following 9-11, as I recall, were ones of almost open Islamophobia, fear of bombs in trains, fear of anyone looking ‘suspicious’ holding a cell phone. Many of us smarted hard after the Towers fell, many of us even left the city to seek areas of less risk. [I personally know more than 10 people who moved well outside the NYC area, some clear across the nation, and one even to Hawaii.]

What we didn’t know was the near extreme reaction that the CIA would have, and the lengths that it would go to not just enforce their war on terrorism but to the lengths that they would also go to keep that disclosed while those in charge, those behind the programs of torture meant to extract “the truth” from jihadist suspects, would themselves be rewarded for their actions and today command their own security enterprises.

Adam Driver, an actor who’s on a winning streak following his appearances in BlacKKKlansman, The Dead Don’t Die, and the Oscar hopeful Marriage Story, leads an all-star cast as Daniel Jones, a former FBI employee and Senate staffer assigned by Senator Dianne Feinstein (Annette Bening) to look into the destruction of CIA interrogation tapes. That investigation starts ballooning into an exhaustive, corrosive scrutiny into the torture techniques that were employed by the CIA to extract information — despite proof that these did not produce any intel. As the investigation continues, staffers alongside Jones start to unravel, tensions mount, pressure from anyone within arms’ length of being in that report start to slowly tighten the noose on both Jones and Feinstein (who does what she can to protect Jones), until it seems that perhaps, all this work may not yield anything at all, or will be lost under the umbrella of redaction, leaving only an empty skeleton.

Steven Soderbergh and Scott Z. Burns are masters of bringing an abstract into the fore and basically turning it into the main character. In The Report, all we care for is this mammoth document, and that it sees the light of day to expose a dark, dark place of American extremism. All the characters in this labyrinthine plot merely serve in deference to The Torture Report, so any inner lives any of them may have is nearly redacted as well, leaving a rather effective thriller that provokes, nauseates, and also serves as food for thought. Despite the lack of characterization, both Driver and Bening do wonders to keep you riveted even when it never rises to the nail-biting tension that last year’s The Post, itself linked to All the Presidents Men, did.

WIND RIVER

WIND RIVER

USA
Director: Taylor Sheridan
Runtime: 110 minutes
Language: English

Midway through Wind River, a character roughly says, “This murder is practically solving itself,” and that, my dear friends, is a problem. Taylor Sheridan once again dives into the underbelly of society, but where his incursions redefined the Western in Hell or High Water and danced with horror in Sicario, both films which yielded memorable performances from its shady as heck characters (and a sympathetic one from Emily Blunt, a female FBI agent tossed in the middle of an increasing set of odds in Sicario), Wind River, while correct and serviceable as a crime thriller, never truly manages to find that dark tone that would have made it the standout sleeper of the late summer. It’s a shame because with an action taking place in the desolate mountains of Wyoming in the Indian Reservation of Wind River, there was plenty of material to convey an atmospheric sense of a larger corruption at hand, something truly unsettling.

The best scene is, as a matter of fact, its most disturbing. The film opens to a young woman dashing barefoot through the snow, escaping an unknown danger before she collapses to the elements and passes out of the story, in body. Enter Jeremy Renner, a game tracker separated from his Indian wife, who finds the dead woman’s body and has to team up with the nearest FBI agent sent all the way from Vegas to survey the crime scene, and with her report, justify the need to send out more agents or close the case. When she appears it’s under the form of Elizabeth Olsen, and at first, as it always is in these movies, her presence is, for the locals, meant to be merely perfunctory, a blip in a series of nothings in a place where nothing really happens. However, a correct assessment of the way rhe woman — Natalie — died doesn’t match up despite the coroner’s report. However, the coroner can’t justify homicide. Olsen can’t call for more agents, so it’s up to her and Renner to take matters into their own hands.

I’m going to say that perhaps this is what happens when someone who’s barely directed takes a film as ambitious as this into his own hands in the hopes of delivering a strong product and coming up just a shade short. Wind River is what you’d call a serviceable, above average procedural that takes you from start to end without delving too much in the horror of it all — even the necessary flashback scene that sets the plot in motion feels flat and done without style or any sense of suspense or even terror — but somehow it just didn’t quite go that extra mile to stay in my memory and thus, remains as just another good movie with solid performances by Renner, Olsen, Gil Birmingham, and Jon Bernthal in a small but pivotal role.