We have to be a check on their power. If we don’t hold them accountable, who will? Katharine Graham (Meryl Streep) is the first female publisher of The Washington Post. With help from editor Ben Bradlee (Tom Hanks), Graham races to catch up with The New York Times who are publishing Neil Sheehan’s explosive stories to expose a massive cover-up of Government secrets that spans three decades and four U.S. presidents. Together, they must overcome their differences as they risk their careers and freedom to help bring long-buried truths to light with the Attorney General acting on orders from Nixon to injunct The Times. A source known to journalist Ben Babdikian (Bob Odenkirk) hiding out in a motel on the other side of the country is sitting with a 4,000 page file from Bob McNamara’s office which demonstrates that the Government knew Vietnam would be lost as early as April 1965… It was all Nora Ephron’s idea. She suggested to Liz Hannah that she should adapt Graham’s memoirs. She wrote a screenplay. Then Josh (Spotlight) Singer rewrote it and it became a reporter’s movie. Why don’t we suppose you’re a writer not a novelist? As much about sexism as political conspiracy (on that it differs from All the President’s Men, its father superior in the paranoid thriller stakes) this is about a woman making a decision to publish the Pentagon Papers with or without the permission of her all-male board with the shareholders anxious not to upset President Nixon or his cohorts and lower their share value. Tracy Letts as Fritz Beebe her advisor has a ball as the man who knows to expect the unexpected and his laugh at the conclusion is as much relief to us as to him. Much of the tension derives from Streep’s inculcating of Graham’s society dame and her realisation that what was acceptable years earlier – her ‘great’ father leaving his legacy to her husband – is no longer necessary and she is a middle aged grandmother finally coming into her own. Her mingling with the upper echelons of Washington society is intrinsic to the process of the story – both the gathering and the telling. Hanks’ interpretation of Bradlee takes a totally different approach than Jason Robards in the earlier film – he is another man entirely, and it’s to the benefit of the text. He is also a society man. The sentimentality of his friendship with JFK literally blinded him to the corruption of the office. Now he needs to kick Government ass. The journalism is fun but not remotely as engaging as ATPM even if it’s entertaining to watch people dropping coins at the phone kiosk and to hear the real recordings of Nixon’s phonecalls which narrate some of the segments. This is a message movie and it has a cliffhanging ending at Watergate! That it finishes on a horribly scored triumphalist note instead of the more pleasing sonorousness of hot metal and type is an aesthetic flaw I find quite unforgivable. Like anyone cares! Jefferson must be rolling in his grave.