‘Shock and Awe’ Review
Shock and Awe begins with a Bill Moyers quote about the importance of a free and open press, has a line about “reporting stories for families who send their kids to war,” and is directed by liberal activist Rob Reiner…who labels the film as a true story. So it’s no surprise that the approach is to paint the folks at Knight Ridder as the sole saints on an island of integrity…even as it is blessed with perfect vision in hindsight.
Written by Joey Hartstone, who also collaborated with Mr. Reinter on LBJ (2016), which also starred Woody Harrelson, the film continues the recent cinematic trend of placing the media on a pedestal of righteousness and a beacon of truth as it serves the role as a check on political process and power. In this case, the ‘spotlight’ is on the Bush administration and the questionable decisions that led to the war in Iraq. The film begins with a 2006 Veterans’ Affairs Senatorial committee hearing where a wheelchair-bound soldier ends his statement by asking the committee members a fair and legitimate question, “What the hell went wrong?”
The film then flashes back to September 11, 2001. Patriotism, pride, activism, volunteerism, and charitable contributions all increased, as did the Bush administration’s focus on going to war. Was it a war to get those responsible for the attack or was there another agenda? Knight Ridder reporters Warren Strobel (James Marsden) and Jonathan Landay (Woody Harrelson) are dedicated to finding the truth, and are led down the path of discovery by D.C. Bureau Chief John Walcott (played by director Rob Reiner).
This is presented at a time more extreme than the mainstream media not often questioning the administration, but the film actually labels The New York Times as a shill or puppet of the Bush/Cheney/Rumsfeld/Powell/Rice regime. Only these two courageous Knight Ridder reporters (Strobel, Landay) were questioning the administration’s efforts to turn the focus from Afghanistan and Al-Qaeda leader Osama bin Laden to Iraq and Saddam Hussein. Though it could be argued that rather than questioning the administration’s policies, the film engages in verbal attacks on Bush and company.
The preaching here is relentless, especially by Reiner’s Walcott, who is posed as something of a truth guru. Missteps abound in the presentation, and the film is crushed under the weight of the obvious and necessary comparison to All the President’s Men (an influential era noted by the characters). The banter between Strobel and Landry often seems forced like what we see in buddy flicks, and the needless and distracting romantic interlude plays like a meager attempt by director Reiner to humanize the message with a grinning Jessica Biel. The same could be said for Tommy Lee Jones’ curmudgeonly portrayal of respected military reporter Joe Galloway.
We really want to commend the filmmakers for bringing light to inexcusable government actions, but the manner in which it does this is so aggravating that kudos can’t be justified. The incessant patronizing wears thin quickly. The story deserves to be told without the sermonizing. Somehow we and the reporters are supposed to be stunned that political corruption, misleading statements from government officials and power struggles even exist. With this discovery, the reporters seem as ‘shocked’ as Captain Renault (Claude Rains) in Casablanca when he is told gambling is occurring (even as he pockets his winnings). With a stated emphasis on truth, we should never forget that politicians and the media are both selling something…and it’s still caveat emptor.