To be honest, this expose of sexism at FOX News is more controlled explosion than bombshell. It touches on important content in an accessible, and often important, way but it certainly doesn’t want to ruffle too many feathers. In Bombshell, a number of conversations are very well handled, especially the more quiet and human moments – occasionally providing an impressive presentation of a variety of voices and the impact of power dynamics. However, overall the film, though informative, is perhaps not incisive, serving as purely as a very digestible, broad presentation of an important topic.
Bombshell definitely comes with qualifications. Firstly, it puts its worst foot forward as it opens like like a limp imitation of The Big Short (a film I do not like), complete with fourth wall breaking and a glossy aesthetic. It’s instantly irritating and I was sure I couldn’t handle this tone for the duration of a film, especially as it is supposed to convey very real – and very sensitive – issues. Luckily, it almost immediately drops this approach and never returns to it, making the opening moments stand out as very odd. This is, however, indicative of the film as a whole. It seems torn between two directions: the gravitas and deliberate nature of a film like Spotlight (or All the President’s Men) and the meta flashiness of The Big Short and Vice. In its more Spotlight-esque moments, Bombshell is effective and conveys its importance well. However, it feels compromised and not willing to fully commit – evidently scared of stepping on toes. It is a film that wants to expose a real wrong – the horrendous treatment of female employees at the hands of an abuser – but doesn’t want to explore external factors. It’s important to focus on an issue, but Bombshell perhaps ignores other important issues along the way. However, very few people saw Spotlight – despite its Oscar success – so Bombshell, in terms of impact, is probably taking the right approach. It is full of pulled punches (and the places it should punch are important) but its more mainstream approach does guarantee it a wider audience and the importance of this should not be undersold.
In addition to this, you do get a number of impressive performances. The central trio of Theron, Kidman and Robbie are strong even when the writing isn’t. Robbie’s character is very clearly a composite used to push the plot and the characterisations of the anchors portrayed by Theron and Kidman are quite thin. Once again, the film is keen not to step on any toes it doesn’t need to. The respect for the immediate victims is good, but in leaving other avenues under explored the film is perhaps not respecting other victims or individuals. The supporting cast are also very strong, they mostly seem to personify viewpoints but there are a number of slight touches that bring life to the film. It feels like a very restrained and edited picture but within it there are moments of real nuance and insight – they are just uncommon.
Overall, Bombshell is a film audiences should watch – if only to use as a starting point to a wider interrogation of a topic. It’s a well put together and very audience friendly picture that does enough. It could be more daring and much more rigorous but that may have come at the cost of audience interest. Fundamentally, the issue at the heart is one that needs to be revealed and one that needs to be overtly revealed. For this reason, and due to a number of inherent positives in the film itself, Bombshell is a success.
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