D.C. Drama

Adam Driver drives home timely message in true tale of Washington corruption

TTR_0542.dngThe Report
Starring Adam Driver & Annette Bening
Directed by Scott Z. Burns

The Report is a crackling political-intrigue thriller about how the U.S. Senate spent years dogging the CIA about the agency’s covert use of torture to extract information from detainees after the attacks of Sept. 11, 2001.

It’s a true story, and it centers around a young Senate staffer, Daniel Jones (Adam Driver), and his painstaking, five-year crusade to comb through more than six million online documents for a study that the CIA—not surprisingly—did everything it could to quash.


Annette Bening is Sen. Dianne Feinstein

Working under the direction of U.S. Senator Dianne Feinstein (Annette Bening) in a windowless, bunker-like basement office, Jones and his small team discover a web of deceit, deception and cover-up. It’s all linked to the CIA’s “Enhanced Interrogation Techniques” (EIT), an outsourced paramilitary program of extreme human-rights abuse, including waterboarding, sexual humiliation, mock burial, sensory deprivation, beatings and enemas. The agency used the techniques in attempts to force “confessions” from more than 100 Middle Eastern men whom it suspected might have ties to the 9/11 terrorism, or information about upcoming attacks.

When Jones completes his nearly 7,000-page report, it concludes that not a single one of the detainees coughed up any credible information—and one died, in effect tortured to death. Not only did the CIA violate time-honored, international Geneva Conventions principles about human rights and treatment of prisoners, but its multimillion-dollar EIT program failed to produce any useful information, contrary to everything the agency had told—and sold—the public about its so-called “War on Terror.”


Jon Hamm plays the White House Chief of Staff.

The head of the CIA (Ted Levine) does everything he can to discredit Feinstein, Jones and the report. The White House chief of staff (Jon Hamm) isn’t really interested; he has bigger election-year fish to fry. And Jones finds himself the target of criminal charges when the CIA turns the tables in a nasty twist that illustrates just how down-and-dirty Washington politics can be.

Matthew Rhys, channeling some of the stealth he cultivated playing a KGB spy on six seasons of TV’s The Americans, has a couple of scenes as a New York Times political reporter who cautions Jones about going public with his findings. “Some people will think you’re a hero,” he tells him, “and some will probably think you’re a traitor.”

Fans of TV’s Dexter will enjoy seeing Dexter himself, Michael C. Hall, as a toe-the-line CIA staffer, along with The Affair’s Maura Tierney. Tim Blake Nelson plays a military physician with objections about the abuse he’s witnessing. A high-end lawyer friend (Corey Stoll) gives Jones some free advice, telling the young Senate staffer that he can’t even begin to afford the super-expensive legal help he’s going to need.

But the real star of the show, clearly, is Driver. After a string of solid roles—in films including BlacKkKlansman, Logan Lucky, Inside Llewyn Davis, Lincoln, Frances Ha, Paterson, as Kylo Ren in the Star Wars franchise, and a heart-rending co-lead opposite Scarlett Johansson in this year’s acclaimed Marriage Story—he’s now a sturdy leading mainstream man. With no car chases, foot races, spaceships, explosions or gunfire, the “action” in The Report often plays out in the features on Driver’s expressive face, a long, oval pallet—the glowering intensity of his dark eyes, the scowling frown of his lips—for the dueling cross-currents of passion, fatigue and frustration that defined a trying half-decade of Daniel Jones’ life.

TTR_1308.dngAfter crafting top-notch screenplays for other fact-based films, including The Informant! and Contagion, plus The Bourne Ultimatum, Scott Z. Burns—who also wrote this screenplay—makes his major-feature directing debut, and it’s a zinger. He builds a dense, immersive drama out of real-life characters and events from the not-so-distant past, cracking into the maddening machinations of Washington to unravel a chronic chain of corrosion and corruption under the George W. Bush administration—and he doesn’t let W’s successor, Barack Obama, completely off the hook, either.

The Report is a movie about big issues that matter, things that resonate beyond the scope of its story—about “who we were, who we are, and who we aspire to be,” to quote from a clip the movie uses from the late Sen. John McCain. And it’s impossible to miss its connections to contemporary events, especially given all the drama, controversy and constant news churn created by the current White House administration. When the movie gets around to whistleblowers, blocks of blacked-out, “redacted” text, elected officials who act not because of right or wrong, but because it’s what they think will help them win votes and elections… As the saying goes, what goes around, comes around.

“You ever wonder why history repeats itself?” asks Bening’s character, Sen. Feinstein. “It’s because we don’t listen the first time.”

History may repeat itself, but The Report suggests that, hopefully, there will always be someone, like Daniel Jones, to remind everyone the importance of listening, remembering—and never giving up in the fight for what’s right, especially against a system that seems impossibly stacked, packed and racked against them.

“You can’t torture people, lie about it and hide it from history,” Jones says. Thanks to his report, this story didn’t end that way. And thanks to The Report, we have Adam Driver in a great movie that shows just what a finessed, finely tuned, focused—and perhaps award-winning—actor he’s become.

In select theaters Nov. 15, 2019

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