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    Movie Review

    Bombshell explodes thanks to story, makeup, and performances

    Alex Bentley
    Dec 19, 2019 | 3:36 pm
    Bombshell explodes thanks to story, makeup, and performances
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    Of all of the official #MeToo stories out there, it’s no surprise that the one emanating from Fox News was the first to be told on film. In addition to the salacious allegations against former chairman and CEO Roger Ailes from bold-faced accusers, the controversial position Fox News holds in the media and political landscape make it doubly interesting.

    Bombshell begins in 2015, when the race for the 2016 Republican nomination was just starting to heat up. Megyn Kelly (Charlize Theron) decides to challenge Donald Trump on his attitude toward women at a debate that she is co-hosting. The tepid support Kelly receives after Trump’s subsequent attacks on her underscore a pervasive attitude at Fox. Ailes (John Lithgow), in both implicit and explicit terms, objectifies Fox’s on-air female talent, including a decree that they must always wear skirts to show off their legs.

    Meanwhile, Gretchen Carlson (Nicole Kidman), who had been leading a quiet revolt on her program, is fired, leading her to sue Ailes for sexual harassment. Carlson’s accusations force many in the Fox newsroom to take stock of themselves, including Kelly and Kayla Pospisil (Margot Robbie). Kayla is a fictional character meant to represent the legion of similar women whom Ailes promised promotions in return for sexual favors.

    Directed by Jay Roach and written by Charles Randolph, the film explores many avenues, never settling on one specific point of view. That’s likely because the real-life narrative is extremely complicated, with conflicting feelings from all involved. Kelly and Carlson struggle with the bargain they have made, gaining high-profile anchor roles at the expense of allowing a man like Ailes to go mostly unchallenged.

    The character of Kayla is also a conduit for the filmmakers to take digs at Fox News’ less-than-consistent nature. She spells out a laughable interpretation of their “Fair and Balanced” slogan, with one side of their on-air talent labeled as “entertainers” instead of reporters. She also shares a friendship with Jess (Kate McKinnon), a Bill O’Reilly staffer who hides the fact that she’s a lesbian and a Democrat in order to keep her position in a tough market.

    Aside from that, though, Roach and Randolph mostly eschew politics in favor of keeping the story focused on the toxic sexual culture at Fox News. Multiple other Fox personalities make appearances, with most of them taking the side of Ailes until it becomes apparent that that position is untenable.

    When the first trailer for Bombshell was released, it was shocking how much Theron looked like Kelly. The filmmakers didn’t stop there, though, as it seems they spent a lot time making sure the makeup for certain other people was as accurate as possible. From Ailes to Bill O’Reilly to Jeanine Pirro to Greta Van Susteren, they put a lot of effort into re-creating the looks of everyone associated with Fox News.

    Theron, who also serves as producer, is the undisputed star of the movie. She doesn’t just look like Kelly, she also sounds like her, and the combination of makeup and acting skill is downright amazing. Kidman plays Carlson as somewhat of an enigma, and the role never pops as a result. Robbie has a magnetism that has served her well in almost everything she’s done, and she winds up being the emotional core of the film.

    The film is also downright lousy with well-known actors willing to pop up for glorified cameos. They include Allison Janney, Mark Duplass, Alice Eve, Richard Kind, Holland Taylor, Malcolm McDowell, and more. Finding out what famous person is playing what role is often a dose of levity in a film with such a serious subject.

    Now several years later and with multiple other high-profile #MeToo revelations having come out, the events at the center of Bombshell are no longer shocking. But that doesn’t make a recounting of them any less necessary, even with the setting of Fox News sure to muddy the waters for a certain segment of viewers.

    Charlize Theron and Liv Hewson in Bombshell.

    Charlize Theron and Liv Hewson in Bombshell
    Photo by Hilary Bronwyn Gayle SMPSP
    Charlize Theron and Liv Hewson in Bombshell.
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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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