Release: Friday, September 16, 2016
Written by: Oliver Stone; Kieran Fitzgerald
Directed by: Oliver Stone
Oliver Stone tackles one of the most elusive and polarizing figures of the 21st Century in his Edward Snowden biopic, a match made in cinematic heaven given Stone’s penchant for courting controversy with the material he works with. So why doesn’t it work?
Snowden is kind of a snooze when it should have been a gripping, poignant drama. The character is portrayed confidently by Joseph Gordon-Levitt, no spoiler alert there, but the movie that surrounds him feels more like a college lecture on national security rather than a dramatization that could have shown us specifically what made the ideologue’s pursuit of government secrets — namely, the NSA’s tracking and collecting of mass amounts of user data by tapping into cell phones — so disturbing. Or, interpreted another, more liberal way — so important. Stone has never been one to keep politics out of the equation, and he’d be a fool to do so this time.
Indeed, Snowden sits pretty far out there on the left wing but that’s not one of the film’s weaknesses unless you consider yourself a fastidious conservative. What’s more problematic is how insipid the study of a life less ordinary really is. I shouldn’t be using such words to describe anything related to Edward Snowden, and combined with the almost purely expository nature of the narrative I’m having déjà vu here: wasn’t this the same thing that plagued the Julian Assange picture? Stone’s new film concerns the period between 2004 and 2013 in which Edward Snowden rose meteorically from computer geek to national security asset (and later, threat). It also chronicles his romantic affair with Lindsay Mills (Shailene Woodley) and suggests an alternative life for him, one that never quite eventuates.
We begin in the present tense, where a documentary crew is rendezvousing with Snowden in the upscale hotel The Mira Hong Kong. Over the next several days director Laura Poitras (here portrayed by Melissa Leo but whose work can be seen in the 2014 documentary Citizenfour), along with journalists from The Guardian — Glenn Greenwald (Zachary Quinto) and Ewen MacAskill (Tom Wilkinson) — are given unprecedented access to what Snowden knows. But before all that good stuff can happen we must first go back to where it all began.
Clunky transitions (“here’s what I did back in this time”) jettison us back to the early 2000s where we get the skinny on Snowden’s young adult life: his brief time in the military, two stints with the CIA and one with the NSA — an impressive résumé if there ever were one. A lack of backstory in terms of what his upbringing was like and who his parents were leaves us with the impression that Snowden was a lone wolf long before he truly became one. We gain access inside top-secret facilities as he makes an immediate impression on fictional CIA recruiter Corbin O’Brian (Rhys Ifans), a relationship that eventually sours as Snowden’s awareness of shady government activity increases. There are more innocuous exchanges as well, like the friendship he strikes up with the jaded Hank Forrester (a much calmer, more effective Nicolas Cage) who has been with the agency for too long and an NSA employee played by Ben Schnetzer.
Snowden is another prestige biopic that tentatively skirts around the fraying edge of sanity. Snowden’s romantic life manifests as the framework within which we can compare his particular stresses to those we mere mortals go through on a daily basis — Lindsay is a free-spirited girl with a flair for photography who understandably tires of his weird work hours, amongst other things. The drama just comes across as obligatory and unearned, a perfectly good performance from Woodley gone to waste thanks to a sloppy, contrived and manipulative storyline. Stone also shoehorns in a sex scene that feels totally out of place. We have all come to the movie to see how well Snowden performs in bed, right?
The intimacy is not necessarily gratuitous but it’s symptomatic of the film’s major issue. It’s perfunctory and sex in and of itself isn’t the best way to add depth to your human characters. It’s a good way to add sex. Snowden owed it to the subject (and to us, natch) to ask tougher questions and to deliver more passion. There should be more outrage, more urgency. Where’s the intrigue here? And what are we getting in this film that we can’t find out on Wikipedia? The answer is absolutely nothing.
Recommendation: I can’t say this frustratingly routine, safe docudrama is something you have to see unless you can’t be bothered to skim a Wikipedia page on the guy. Or unless you are a diehard Oliver Stone fan. Personally, I’m disappointed with the way this came out even with no particular expectations coming in to it.
Running Time: 134 mins.
Quoted: “The modern battlefield is everywhere.”
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