I have a thing for journalism procedurals, but sadly it’s not the kind of movie that comes around very often. With “She Said”, director Maria Schrader and screenwriter Rebecca Lenkiewicz scratch that itch for fans of the genre like me. Their film is very much a procedural in every sense of the word. It’s no “All the President’s Men” or “Spotlight”, but it features many of the things those films do so well. Among them is highlighting the intrinsic value of investigative journalism, now more than ever.

“She Said” is based on the 2019 nonfiction book of the same name by New York Times journalists Jodi Kantor and Megan Twohey. It chronicles their work to uncover and expose the sexual harassment and sexual abuse of high-profile film producer Harvey Weinstein. Over 80 women would end up coming forward accusing Weinstein of sexual misconduct including rape. His abuse spanned 30 years (at the very least) and was brought to a stop thanks the the reporting of Kantor and Twohey along with the brave victims who came forward to share their story. The 70-year-old Weinstein is currently serving 23 years in prison with more charges pending.

After what feels like some obligatory back-patting in the shaky and self-regarding opening ten minutes, “She Said” gets on track after New York Times reporter Jodi Kantor (Zoe Kazan) gets wind of a possible sexual assault by high-ranking Hollywood producer Harvey Weinstein. After conversations with actresses Rose McGowen, Ashley Judd, and Gwyneth Paltrow, Kantor realizes she has a much bigger story on her hands. So she recruits fellow Times reporter Megan Twohey (Carey Mulligan) to help root out the truth.

Mulligan and Kazan give strong performances, gelling with Lenkiewicz’s gloss-free yet undeniably polished screenplay to give us credible reporters on the trail of a story that would shake the industry and spark a movement. Both relay their characters’ fervor for the truth while touching on the psychological and emotional toll their investigation had on them and their families. Among the film’s biggest strengths – chronicling the ups and downs that come with investigative reporting. The movie also excels in giving voices to the victims who often remained hidden behind headlines. None are better than Jennifer Ehle and Samantha Morton who deliver the film’s most emotionally impactful moments.

That said, this is very much a self-celebrating movie, with journalists portrayed in such heavenly light that there’s little room for them to be anything more than journalists. Yes, Twohey is cool and iron-willed while Kantor is timid yet resolute. But those traits don’t really give us an idea of who these two women are. Even their bosses, Rebecca Corbett and Dean Bacquet (very well played by Patricia Clarkson and Andrew Braugher) bask in the same self-celebratory glow. This wouldn’t be a big deal if the movie was revealing things we didn’t already know. Instead everyone are just filling roles that are more or less defined for us from the first moment they appear on screen.

But that’s not to say “She Said” doesn’t have its values. Quite the opposite in fact. The above-mentioned interviews with victims really bring Weinstein’s damage to light (a few others, particularly with Ashley Judd who appears as herself, not so much). And it’s fascinating to watch Kantor and Twohey walk the fine-line between encouraging the victims to come forward as named sources and respecting their apprehension and reluctance. And again, if you’re someone who enjoys by-the-book journalism procedurals, “She Said” has exactly what you’re was looking for. “She Said” is out now in theaters now.

VERDICT – 3.5 STARS

Playwright, novelist, screenwriter, and director Florian Zeller blew me away with his 2020 directorial debut, “The Father”. The film, an adaptation of his own 2012 play of the same name, was a heart-wrenching story of an elderly Welsh man suffering from dementia. The film’s lead performance earned Anthony Hopkins his second Best Actor Academy Award which was one of the most deserving Oscar wins in recent years. So naturally I was excited for what Zeller would do next.

His sophomore feature is “The Son”, another deeply human drama yet again based on his own stage play of the same name, this one from 2018. The film sees Zeller exploring painfully real subject matter that doesn’t make for the most comfortable viewing. But much like its predecessor, “The Son” keeps its characters and its story grounded in such fashion that it’s hard to turn away. Overall it may not be as seamless or as focused as “The Father”. But the script (co-written by Zeller and Christopher Hampton), combined with some truly absorbing performances, vividly brings this character-driven story to life and keeps us glued to every meaningful exchange.

Where as “The Father” dealt with an octogenarian with dementia, “The Son” revolves around a teenager with clinical depression. But it’s just as much about a broken family and a man confronted with his own failures as a father. Zeller takes a deep look at depression, from the warning signs to the near unexplainable nature of the pain to its crushing effects. But it’s seen mostly through the eyes of a well-meaning dad who struggles to grasp his son’s mental illness while coming to grips with how his own past actions might have contributed to it.

For Peter (a devastating Hugh Jackman), things couldn’t be better. He’s a successful attorney working for a big New York City law firm, and he’s just been offered a prominent role in a Delaware senator’s upcoming campaign. At home, he and his second wife, Beth (Vanessa Kirby) just had a healthy baby boy. But Peter’s seemingly blissful life is shaken when his ex-wife, Kate (Laura Dern) unexpectedly shows up at his door and tells him that she’s concerned about their 17-year-old son, Nicholas (Zen McGrath). She mentions his anger, detachment, and the fact that he’s been skipping school for nearly a month.

The next day, Peter stops by Kate’s to see Nicholas. Their conversation stalls mainly because Peter believes his son is simply going through a phase, while Nicholas knows he can’t explain his feelings in a way his father would understand. It ends with Nicholas asking if he can come live with Peter and Beth. Knowing it’s the right thing to do (and possibly out of a sense of guilt), Peter agrees. Beth has concerns, but she stands by her husband.

To Peter’s credit, he loves Nicholas and truly wants what’s best for him. But his blind optimism keeps him from truly seeing his son’s condition. In Peter’s mind, all Nicholas needs is a change of scene – a new school, some new friends, and everything will be alright. Peter even makes an effort to be around more for Nicholas, like a good dad should. It’s all sincere and well-intended, though slightly self-serving. Peter also wants to prove to himself that he’s better than his own vain and coldhearted father (played in one profoundly revealing scene by the indelible Anthony Hopkins).

To no surprise, Peter’s efforts only exacerbate the problem. He finds himself routinely suggesting the wrong thing or responding the wrong way. Communication breaks down, deep-seated pain comes to light, animosity and resentment set in. Through it all Zeller maintains a tight rein, and his stagecraft proves to be an asset. He’s very good at fleshing out characters through rich organic dialogue. And in doing so, his cast is given some strong material to work with. Jackman benefits most and gives what may be the best performance of his career. Kirby is excellent as is Dern. Unfortunately the latter disappears for much of the second half which is a shame considering Kate offers a fascinating angle to the story. McGrath is shakier and can’t quite match his seasoned co-stars. He especially struggles in the more emotionally demanding scenes.

In “The Father”, Zeller cleverly used point-of-view to catch us off-guard and pull us into the failing mind of his main character. Here his storytelling is more streamlined and straightforward. But to be honest, that’s exactly what material like this needs. There is a questionable choice at the end that means well but doesn’t really work. Outside of that one noticeable stumble, the storytelling is top-notch, the character work is dynamic, and the handling of subject matter is admirable. It all works to make “The Son” a worthwhile follow up to “The Father” and further establishes Florian Zeller as one of the most exciting dramatic filmmakers of this new batch. I can’t wait to see what he does next. “The Son” opens November 25th in Los Angeles and New York.

VERDICT – 4.5 STARS