The Post
★★★★ · 4/5 · 2017
Watched on November 9, 2026
Starring: Meryl Streep, Tom Hanks, Bob Odenkirk
Director: Steven Spielberg
Cinematography: Janusz Kamiński
Writers: Liz Hannah, Josh Singer
Editor: Sarah Broshar, Michael Kahn
Composers: John Williams
The Post was one of those movies I went into fully expecting to be bored with. It has all of the makings of a "dad movie": historical political drama, prestigious actors (Hanks in particular), journalism, government corruption, and the man himself - Steven Spielberg. That being said, I was pleasantly surprised by how engaging this film was.
Looking at Spielberg as a director, especially later in his career, I've found that he tends to cater his films toward an older audience. Sure, there's the subject matter, writing, dialogue, and directing approach, but there's also a traditional, bordering on old-fashioned quality to many of his films that can almost make them come off as conventional, but then you remember how many directors and cinematographers were inspired by Spielberg and his films. Oddly enough, the feeling that Spielberg's films have - the color palette, focus on faces, dramatic lighting, and very intentional framing for emotional emphasis is reassuring and recognizable. You know that you're watching something by one of the best to ever do it.
With The Post, what made this one stand out is how much tension Spielberg is able to generate from a story that, on paper, doesn't seem very dramatic or built for the big screen. There's close to zero action and no conventional villain - the one present in the film is only referenced in conversations. The Nixon administration is sort of an invisible threat. Their influence is felt through legal actions and political pressure, but they're never physically in front of the camera. So the stakes are established through dialogue and the characters' decisions and reactions. In the wrong hands, it could easily become tedious, repetitive, and boring. Fortunately, these sorts of stories have become Spielberg's wheelhouse. If there's anyone who can make a story about a newspaper publisher interesting and consequential, it's him.
Much of The Post's success comes from its writing and performances, of course, and that's not surprising at all given Spielberg's history. Meryl Streep is one of the most consistently excellent actors of all time. As Katharine Graham, she brings a mix of vulnerability, uncertainty, and determination. She's an inspirational figure who's not talked about nearly enough, given the immense amount of pressure she's been put through, and her role and place in a male-dominated business, especially under the circumstances that this film covers. Tom Hanks is an actor that's often hit or miss for me, particularly nowadays. I think his commitment to capturing his characters only goes so far, and that was easier to buy in his younger years when his acting abilities were more flexible. He has some moments of overacting in this, primarily when it comes to the accent he's trying to capture, but for the most part he's great. Bob Odenkirk's part is smaller, but his importance to the plot gives him some of the most engaging moments. I had no clue he was in this, so that was a pleasant surprise. These actors almost always elevate the material they're given. Even when they're given dialogue with the tendency to get dense and filled with political/jouranlistic jargon, their performances add a necessary amount of personality and urgency to make the scenes interesting.
The primary subject of the Pentagon Papers is fascinating, particularly how the documents exposed the extent to which multiple presidential administrations misled the public's perception of the Vietnam War. What's surprising and equally frustrating is how relevant these events are today. It's hard not to draw parallels between Donald Trump's repeated attacks on the credibility of the press, his confrontation of media organizations, and his insistence on controlling the narrative to save his image. The film depicts a government that is unwilling to acknowledge its own failures and instead points the finger at other organizations and individuals, resulting in prolonged military conflicts and frustrations across the world. This also brings to mind the constant debates over American military intervention and the countless examples of our country's leaders insisting that their strategies are working when they aren't. The circumstances may not be identical, but the underlying problems of political dishonesty, self-preservation, and hostility towards scrutiny are upsettingly familiar. Looking outside of those parallels, I appreciate how The Post was able to examine the responsibilities of press organizations and how the interests of the newspaper and the business maintaining its independence can collide. Graham's role is particularly interesting because her decision to publish the Pentagon Papers could jeopardize her employees and stakeholders. This story is just as much of a personal one, following her struggle to establish her qualifications and conviction while surmounting the pressure she's experiencing, as it is one about government secrets.
As I said before, there's something recognizable in the way Steven Spielberg makes his movies, and The Post is no exception. The direction is immediately familiar - he carefully arranges compositions, fluid camera movements, and the way he stages every conversation, especially in the crowded offices. In the simplest of scenes, like characters talking around a table, he fills the scenes with intrigue and purpose. He was also able to perfectly capture the period by involving the printing presses, the machinery, and the involved distribution process. A lot of the credit is also due to Janusz Kamiński's cinematography. He gives the film a polished look that's inherent in every Spielberg film. Pair that with a tension-filled John Williams score, and you've got yourself a good movie.
There are a handful of stretches in the film that I would consider to be dull. The moments where the film becomes too focused on the inner workings of the newspaper business, how profits are going to be gained, and similar scenes where the dialogue gets thick and the pacing slows. Spielberg has a tendency for sentimentality that often oozes through his films when he tries to underline the historical significance of the subject. Letting those moments speak for themselves instead of getting overly dramatic would work in his favor. I also found the ending a little strange. It's almost like Spielberg was inspired by the MCU's post-credit scenes and wanted to take a crack at it. The inclusion of Watergate felt like it was going to be the next installment in a franchise. I understand the historical connection and what the scene was supposed to accomplish, but it was unnecessary and impacted the wrapping up of the conclusion.
Despite those minor reservations, The Post was a much more enjoyable experience than I anticipated. The story itself is quite straightforward, but it's greatly enhanced by its actors/performances, intelligent writing, beautiful presentation, and Spielberg's talent as a director. It may not place among the most memorable of films, but nevertheless, you can't help but admire a movie that can make political conversations, legal injunctions, and the responsibility of editors even remotely compelling.