She Said: A Review - Agenda is No Subsitute for Drama

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 1 out of 5 stars

My Recommendation: SKIP IT. This absolutely awful, dreadfully dull, banal bore of a film is a muddled misfire.

I missed seeing She Said, the story of how New York Times investigative reporters Jodi Kantor and Meghan Twohey exposed the Harvey Weinstein scandal, when it premiered in theatres this past November. I wasn’t the only one not to see it as the movie was a major flop, bringing in only $12 million on a $32 million budget.

But She Said, which is based on the book of the same name and stars Carey Mulligan and Zoe Kazan, is now available to stream on Peacock and I just had the great displeasure of watching it.

This dreadfully dull movie is directed by a hapless Maria Schrader and written by an even more hapless Rebecca Lenkiewicz, and is a sort of procedural journalism drama minus the drama….and storytelling, and craftsmanship and skill.

She Said is what happens when a movie is all agenda and no drama or cinematic skill. It’s expected in this day and age that people – the “right-thinking people” anyway, will love this type of movie just because it exists and because it holds the correct cultural/political opinion.

Just so viewers know what the correct opinion is, the film gives them a totally ham-fisted scene early on where the two female reporters and their female editor go to a bar in the middle of the day to talk about the story they’re developing. At the bar a drunk thirty-something white frat bro tries to hit on them and Carey Mulligan’s Twohey defiantly stands up to him and shouts him down. You go girl!! The dude then stumbles away muttering about “frigid bitches”. Then Mulligan’s Twohey apologizes to the women she’s with, Kazan’s steely-eyed Kantor retorts, “don’t apologize.” So brave.

This scene is so bizarre, contrived and hackneyed it’s actually unintentionally hysterical. I mean, the scene opens with the waitress bringing over menus and placing them in front of the women and saying, “these are the menus!” That sort of clumsy, amateurish dialogue and blocking is omnipresent throughout She Said.

As for the drunk white thirty something frat bro, that day drinking, horny character is so obscenely absurd as to be ridiculous. But what makes that scene even more funny is that later in the film Twohey and Kantor strut down the street in New York in a long shot and they approach and then walk past two construction workers chatting next to a construction site. I fully expected a cat-calling scene and another Twohey “and then everyone clapped” superhero moment of standing up to predatory men, but then I noticed the construction workers weren’t white guys but minorities and I knew Twohey and Kantor were safe. And sure enough…they walk by unmolested! The lesson, as always, is that only white men are misogynists and sexual predators.

Critics of course are among that desperate-to-be-approved-of group who respond to this sort of vapid virtue signaling (because they do it so much themselves), and so they have written positively about the film because they know they’re supposed to. The paradigm in these situations becomes ‘if you dislike this movie then you love Harvey Weinstein!’, and critics on the whole are much too spineless to actually speak the truth about this movie and risk being seen as ‘bad people’.

She Said isn’t even really a movie, it’s a two-hour and ten-minute #MeToo virtue signal by the New York Times and the female filmmakers meant to extract money from ideologically enthralled fools in the audience and awards from similarly comported morons in Hollywood.

Journalism movies are no easy task. For every All the President’s Men and Spotlight, there’s something abysmal and trite like Spielberg’s The Post, but She Said makes The Post look like Citizen Kane.  

All of those journalism movies had the same obstacle to overcome as She Said, which is that audiences all know how it turns out in the end. We know The Washington Post nails Nixon Watergate, and that the Boston Globe publishes the sex abuse scandal articles, and in this case that The New York Times publishes and Weinstein gets busted.

But nothing is revealed in this movie that we didn’t already know about what the deplorable and disgusting rapist, brute and bully Weinstein was up to, and even the re-telling of known facts is so poorly pieced together as to be laughable. Hell, the biggest obstacle/villain in this movie is Ronan Farrow who might break the story before Twohey and Kantor. And the fact that Weinstein’s Israeli “security team” was out committing crimes and intimidating witnesses and journalists is something She Said refuses to ever admit or acknowledge, is a pretty damning decision in terms of credibility.

In Spotlight, director Tom McCarthy, who isn’t exactly Orson Welles, uses some cinematic and dramatic flair when he crafts his story. For example, in one scene, three characters, two reporters and their editor, simply discuss the story they’re trying to crack, but they do it in a dimly lit basement library which smells because of a dead rat. The characters all comment on how dark and stinky it is and that is great sub-text because it informs both the scene and the overarching narrative of the movie. That scene construction is pretty simple, but nothing like that exists in She Said. Instead, She Said is a litany of women walking and talking on phones.

Another huge issue with the film is that it never clearly lays out the puzzle pieces the reporters must put together in order to “win” – which in this case means getting the story published, resulting in a terribly muddled and unsatisfying movie that have no pulse and no dynamism.

The cast of this film is a collection of very good actresses, but none of them do quality work in it.

I think very highly of Carey Mulligan, but her work as Meghan Twohey is embarrassing it’s so awful. Mulligan’s chesty American accent is tinny and her supposed profound girl power glares and glances laughable.

Zoe Kazan too is a terrific actress but she is as dead-eyed and dull in her role as Jodi Kantor as I’ve ever seen. At one point Kazan’s Kantor comes to life, which is when she bursts into tears when she learns a victim will go on the record against Weinstein. How professional!

Weinstein is not shown from the front in the film (although we hear his voice and see him from behind) because the filmmakers didn’t want to “center” him but preferred to “center” his victims, but the victims aren’t “centered” either. We learn next to nothing about anybody in this movie, and we certainly don’t care about anybody.

Actress Ashley Judd, one of Weinstein’s victims, plays herself in the movie and I understand why that happened, but that choice is undermined when other celebrities, like Gwyneth Paltrow, do not appear even though we hear their voices (I don’t know if it’s Gwyneth’s real voice or not).

The structure of the movie is nonsensical as well. We get flashbacks to a young Irish girl stumbling upon a movie set and later running down the street crying, and we get Meghan Twohey’s pregnancy and post-partum depression (spoiler alert - men are the cause of post-partum depression!!), before we ever get into the story, but none of this is cinematically coherent or narratively comprehensible.

Let me be as clear as I can about this…Harvey Weinstein and his ilk…like Matt Lauer, and Charlie Rose and Les Moonves and all the rest of the predatory douchebags who have long populated Hollywood and every other industry, should get the Vlad the Impaler treatment and have their eyes plucked out by ravens as they bleed to death out of their assholes.

Let me also clearly state that She Said is an absolutely awful, dreadfully dull, banal bore of a film that is a total waste of not only two hours and ten-minutes but also of a fascinating and important story.

She Said should’ve done for the Weinstein scandal what All the President’s Men did for Watergate and Spotlight did for the Catholic Church sex scandal. But due to abysmally poor directing, writing and acting, the movie is a gigantic failure. I guess all I can say is better luck next time. Maybe if they ever make a Ronan Farrow biopic – now that’s a compelling story, they’ll get a writer and director who have half a clue. Maybe, just maybe, they won’t fuck that one up. Oh, who am I kidding…they’ll definitely fuck that one up too.

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