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Steven Spielberg directs Meryl Streep and Tom Hanks in a historical drama about the controversial publication of the Pentagon Papers in the early 70’s.

THE POST  Fuelled by the turn of events in the US over the past year, Spielberg put together this high-profile project in a tight 6 months from shoot to screen. For this task, he assembled some of the finest character actors working in Hollywood today, bringing heavy-hitters Hanks and Streep together for the first time on-screen. All these talented individuals sparkle in a blend of classic storytelling – something that only an auteur like Spielberg could pull off in such a quick turnaround time.

To make this story resonate with more impact, writers Josh Singer and Liz Hannah choose to slowly ramp up the pace to a provocative finale. All the essential exposition makes the journey slightly taxing in the first act, but there are ample nuggets of brilliant performances and filmmaking artistry on display that compel you to see it through. Spielberg’s touch is evident in every frame, with exceptional camera movement and scene-blocking that should be taught in film schools. Punctuated by John William’s swelling score, pivotal acting moments are aplenty. As expected, Streep and Hanks lead the charge as the Washington Post’s publisher Katherine Graham, and editor Ben Bradlee respectively. The two cinematic stalwarts are mesmerizing to watch but Streep overshadows the rest of the predominantly male cast, outshining them all at every turn. Graham’s character arc is perhaps the most rewarding as she comes to terms with the power bestowed upon her by chance. Hanks plays against type as the blunt, no-nonsense editor whose journalistic integrity is decisive in the series of events. But in a film filled with strong performances, Bob Odenkirk is particularly memorable as assistant managing editor Ben Bagdikian.

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‘The Post’ goes beyond chastising clickbaity media sensationalism and serves as a stark reminder of the purpose of the press in any democracy. This allows the message of the film to transcend boundaries, and inspire newsmakers across nations to remember who the press serves in the end. Granted, some of it might be a bit hard on the nose, but Spielberg knows there could not be a better time to address freedom of speech, especially when it is challenged on a daily basis. Similiar to a handwritten letter that takes its time, ‘The Post’ is not a standard thrilling political drama but comes home in the end in another essential addition to the filmography of an influential filmmaker.