The title takes the second half of the well-known phrase habitually used to dismiss rape allegations as rumour – “he mentioned, she mentioned” – and in doing so restores the significance of girls’s testimony. That is the story of the 2 New York Occasions reporters, Megan Twohey and Jodi Kantor, and their battle to write down the story in regards to the now disgraced and imprisoned film producer Harvey Weinstein and his decades-long follow of intimidation, harassment and rape of younger feminine actors and junior employees, hushing them up with threats and NDA payoffs, enabled by an unlimited male superstructure of silence. It’s tailored by Rebecca Lenkiewicz from the journalists’ e-book of the identical title and directed by Maria Schrader.
The journalists’ plan was to attempt for quite a few accusers going public without delay – or failing that, to get one distinguished survivor on the document and rely on others coming ahead; this was the inspiration of the #MeToo technique. Carey Mulligan performs Twohey and Zoe Kazan performs Kantor, and theirs is a really Twenty first-century office: in addition to their demanding work, Twohey and Kantor need to take care of motherhood, infants and exhaustion, which by no means apprehensive Woodward and Bernstein. However as life is messy and sophisticated, another person is engaged on the identical story: Ronan Farrow for the New Yorker, whose work is talked about moderately cursorily on this film. Maybe his good-faith contribution might have been acknowledged with a bit extra generosity?
There are some nice small roles: Samantha Morton is Weinstein’s former assistant Zelda Perkins and Jennifer Ehle is his former worker Laura Madden, whereas Ashley Judd performs herself. Patricia Clarkson is NYT editor Rebecca Corbett and Andre Braugher is govt editor Dean Baquet. As for the enemy, Weinstein is rarely seen full-on, however his oleaginous lawyer is properly performed by Peter Friedman: similar to his position as Logan Roy’s salaryman-consigliere in TV’s Succession.
As ever with movies about newspapers, the problem is to make extraordinary reporting work look attention-grabbing, and fairly often Twohey and Kantor are proven speaking to folks on their mobiles whereas striding by way of the busy Manhattan streets, versus sitting at their desks taking notes. However the movie coolly conveys the awakening-from-denial horror that their investigation spreads by way of the movie business and I love the best way it takes the macho cliched nonsense out of journalism in motion pictures: these aren’t boozy guys being lovely and chaotic, however good, persistent folks doggedly doing their job.