Tag: Paz Vega

“Stop the presses” was a line of dialogue used in all manner of thrillers and mysteries throughout Hollywood’s Golden age as a reflection of the movies’ love affair with newspapers and crusading reporters. Now this romance has had its bumps, since for every THE FRONT PAGE or HIS GIRL FRIDAY, there’s a CITIZEN KANE who created news events to sell copy. But overall, the seekers of truth, the reporters have been the heroes in cinema (is it any wonder that Superman’s human disguise is that of “mild, mannered reporter for a great metropolitan newspaper”?). One of the best examples may be 1976’s ALL THE PRESIDENT’S MEN with Woodward and Bernstein as an investigative dynamic duo who would follow every lead, turn over every rock in order to publish the facts. The fourth estate isn’t what it used to be in today’s world what with several 24 hour cable news channels and the immediacy of the internet. Many papers have stopped those presses for good. But only 16 years ago, a solitary reporter from a mid-sized daily rocked the world with a scandal that shook up the leaders of a couple of countries. That reporter was Gary Webb, a man first lauded with praise then defamed and derided. As the title implies, such can be the fate of those who deliver bad news, because often the world will KILL THE MESSENGER.

The film starts in 1998 as San Jose Mercury News reporter Gary Webb (Jeremy Renner) has submitted a story to his editor Anna Simons (Mary Elizabeth Winstead) about the possessions (cars, boats, houses) of accused drug dealers being confiscated by the authorities. The published piece elicits a phone call from Coral Baca (Paz Vega) whose fiancée is facing a trial for drug trafficking. It seems that due to a filing fluke she’s obtained a copy of the grand jury testimony of major drug kingpin Danilo Blandon. Webb wonders why “they’re using a whale to hook a tuna”. As he further investigates, he uncovers an operation from ten years ago involving the CIA. When congress refused to fund the rebel Contras in Nicaragua, the agency looked the other way as drug smugglers from that country sold cocaine to US dealers with the money funneling back to support the rebels. This helped fuel the 80’s crack cocaine epidemic that destroyed inner city neighborhoods. After a cruise through south central LA and a look at said streets, Webb embarks on a journey to find out the truth. He flies down to Nicaragua to talk to Blandon’s incarcerated partner Norwin Meneses (Andy Garcia) and German money man Baier (Brett Rice). Then it’s off to DC to converse with ex-agency man Fred Weil (Michael Sheen) and have an audience with several intimidating current CIA men. But Webb will not be silenced, and his incendiary news series causes a sensation. He’s feted, interviewed on TV, and soon the smear campaign begins at rival newspapers along with a black car that’s always parked across from his home. When talk of lawsuits begin, Mercury publisher Jerry Ceppos (Oliver Platt) re-assigns Webb to their suburban branch 150 miles away where he can contribute fluff pieces. But Webb will not quit and sets up a research hub in his tiny motel room. Not caring what feathers he ruffles, he will expose the lies and deliver the truth to the public.

This is a director’s dream cast, but make no mistake, it all rests on Renner’s shoulders, and he proves to be a superb anchor. At times his reporter is almost a classic Sam Spade-like PI as he wears down his shoe leather and adds frequent flyer miles to get at the scoop. Renner shows us his dogged determination, but also the trepidation as he realizes that his family is not off bounds from the goons in nice dark suits. And there’s the frustration as even his boss and co-workers, not to mention other reporters, turn against him. It’s one of the best performances of his already impressive career. Matching him in the domestic scenes is Rosemary DeWitt as wife Sue, a supportive partner to her hubby’s zeal, but still able to bring him back to Earth with a well placed zinger. There’s also a touch of sadness in her eyes as past indiscretions are recalled. Also great in the home front is Lucas Hedges as eldest son Ian , the rare teenager who idolizes Dad which makes his learning of chips in Gary’s armor more heart-breaking. Winstead gives a nice spin to the stock gruff editor trying to hide her admiration for Gary’s passion. Platt is terrific as the wealthy owner who enjoys tossing rocks at the castle, but is heartsick at having to cave in to his legal team. Speaking of legal, Barry Pepper has a perpetual sneer as the government prosecutor unraveled by Webb. And kudos to Tim Blake Nelson and Michael Kenneth Williams as the defense attorney and client flabbergasted at the height of the stakes piled up against them. Vega seems to be having a lot of fun vamping it up as she sends Webb on his great quest. Garcia is suave and smooth as the prisoner who seems to really be running the jail. He delights dropping insider bombshells on the stunned newsman. Sheen is all sweaty unease as the very-happy-to-be-ex-agent who warns Webb that he’s getting in too deep. And Ray Liotta is solid as the “Deep Throat”-like informer John Cullen who breezes into Webb’s room like a ghost. After confirming the research he drifts back into the fog with Webb not quite sure if he was really there. They’re all at the top of their craft.

Though mostly known for his TV work (“Homeland”, “Dexter”), director Michael Cuesta keeps the action rolling along while never skimping on the personal story, The scenes between Gary and Sue are just as compelling as all the globe-trotting. He evokes that brief window before newspapers took a back seat to the new electronic media. And there’s the thrill which Cuesta conveys of seeing your work in the paper, being able to grab it and flip those rattling pages and getting the ink on your fingertips. Screenwriter Peter Landesman, working from books by Webb and Nick Schou, spins a crackling good yarn full of wonderfully shady characters spewing memorable dialogue. Yes the film harkens back to PRESIDENT’S MEN, but there’s more than a smidgen of JFK’s element of danger. We know Webb can only poke that beastie with a stick (or ballpoint pen) so many times before it stops hissing and strikes. KILL THE MESSENGER is an enthralling ode to a knight in shining newsprint who nearly slayed a very big dragon.

4 Out of 5

KILL THE MESSENGER opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas