That makes it a dinosaur about a dinosaur.
Steven Spielberg is in a similar position these days.
Yet thematically, Steven Spielberg's riveting new drama feels practically ripped from today's headlines, by chronicling accusations of government corruption and cover-ups, a defiant White House that bemoans the free press, and the intersection between journalistic integrity and corporate interests. But there's no better time like the present, and seeing Hanks and Streep go toe-to-toe, as Washington Post editor Ben Bradlee and Post publisher Katharine Graham respectively, for the first time is some kind of magic.
'The Post' Featurette: Meryl Streep and Tom Hanks Make a Powerhouse Duo
It's Spielberg, Streep, and Hanks - with icons like these, first names are hardly necessary - together again for the first time.
That double-barreled narrative structure might trip up most moviemakers, but Spielberg isn't most moviemakers.
Ty Burr of the Boston Globe stated, "This is Spielberg back in "Lincoln" territory, making historical figures more mythic by making them seem more human". Richard Nixon might be the film's shadowy, barnstorming antagonist, but he's only a stand-in; a cipher created to represent the similarly paranoid, similarly putty-jowelled fascist now pacing up and down the halls of the White House. Would other newspapers pick up the slack?
Or one of them.
The script, which draws upon Graham's Pulitzer Prize-winning 2016 memoir, "Personal History", concentrates on the risky road traveled by Graham and Bradlee, sets itself up as a Watergate precursor, dramatizes the transformation of the titular newspaper from a regional publication to a national one, and ends up representing itself as a virtual prequel to All the President's Men. Hank plays legendary editor Ben Bradlee.
Asked how she felt that people were waiting for her to respond, she said: "I don't want to hear about the silence of me". These documents, called "the Pentagon Papers" and leaked by U.S. military analyst Daniel Ellsberg, unveiled shocking revelations regarding the conduct of the Vietnam War. Her decision to hire Bradlee has met with only limited success, and the paper is still struggling to establish itself as a major player in Washington, D.C., much less the country. "The Post", in its early scenes, shows us a tentative Graham, studying hard to prepare for the Post's first public offering of stock (watch how Streep so subtly conveys Graham's discomfort at a meeting, where she doesn't quite know where to put the binders and notebooks she's meticulously brought) and trying to coolly ignore the condescension with which she's often treated. And subtlety is damned, for eternity, in John Williams' shamelessly manipulative score. If Streep effortlessly conveys her character's growing sense of mission (and the courage to see it through), the actress's mannerisms - that hesitant hiccup in her line delivery, the flutter of the hands, the darting glances - are starting to define her more than ever. He takes you into the newsroom and the halls of Washington where the real decisions are made and poses the conundrum: What would you do?
The Daily Caller reached out to the White House to verify the report, but have yet to receive a response.