This News of the World review contains minor spoilers...
Whether it’s perception or reality, it certainly feels like there isn’t much going on in the world of film right now. The Covid-19 pandemic has taken its toll on cinema and it seems that blockbuster releases are getting fewer and farther between. So, we’re having to rely on streaming services like Netflix to deliver the biggest and best movies. Thankfully, News of the World fits the bill.
Don’t get me wrong, News of the World isn’t some super high budget CGI action-fest – it’s pretty much the opposite. But the sheer star power of its lead actor is enough to propel it to the upper echelons of Covid-era film. Unfortunately, however, the small screen does it no favours and created a sense of flatness which lingered throughout its runtime.
News of the World begins in Wichita Falls, Texas in 1870 following the end of the Civil War. Former Confederate infantryman Captain Jefferson Kyle Kidd (Tom Hanks) travels town to town and reads the news to the local residents. He turns it into a performance of sorts, and shares exciting, scary, and thrilling stories from across America and the globe. Given his military history and scarred body, it’s clear that Kidd is a troubled man. But he hides it well and takes pride in his news reading.
Director Paul Greengrass (who previously worked with Hanks on Captain Phillips) captures the depression and bleakness of post-war Texas in the film’s dim, rain-soaked opening scenes. It’s a hopeless time – frustration and anger towards the Union, its president, and its military permeates the audiences at Kidd’s readings. Likewise, News of the World doesn’t shy away from portraying the grim reality of late 19th century America. The morning after his news reading in Wichita Falls, Kidd sets off for the next town. He soon comes across a destroyed wagon, seemingly ransacked. Upon investigating the scene, he finds the lynched body of a black soldier along with a disturbing message – “Texas says no! This is a white man’s country”.
Captain Kidd also encounters a young white girl – Johanna (Helena Zengel). She’s shaken and confused. Wearing Native American clothing and speaking only Kiowa, Kidd deduces that she must be from a nearby tribe. It soon becomes apparent that he is Johanna’s only hope of returning to her forgotten family. But they live 400 miles away. He reluctantly accepts that he needs to see the journey through and ensure the girl’s safety.
As with all of these types of films, the relationship between Kidd and Johanna is the focal point. Initially, Johanna dislikes the Captain and repeatedly attempts to flee. The language barrier is a persistent problem, too. Neither person understands the other’s motives or history. As the characters’ backstories are slowly revealed, they warm to each other – perhaps because Johanna’s past is equal to Kidd’s in its brutality and ugliness, and he relates to that. But there’s a persistent air of distrust about her and understandably so once you discover what she’s endured.
Their relationship is underpinned by two fantastic performances from the lead actors. While Zengel doesn’t do a lot of talking, the raw emotion and pain of her character is evident in every scene. Despite her appearance, it’s easy to believe she lived with a Native American tribe, and her seamless multilingual speech bolsters this. However, Hanks is the true star of the show. His presentation of Kidd is powerful and all-encompassing. And let’s be honest, you’d expect nothing less than a stellar showing from him.
Along the way, Jefferson and Johanna come up against their fair share of challenges – from looters to kidnappers to patrolmen. You spot the trouble coming a mile off, but that doesn’t make it any less tense – and the shootouts are really cool to boot.
Given that the film is set 150 years ago, I was surprised to see allusions to the ‘fake news’ of the modern day. Its use in controlling a population is heavily inferred, too. It felt a little on the nose, but it wasn’t patronisingly overt. It’s a relevant and undeniable connection and was appropriate in the context of the movie, so that’s what counts.
To top things off, Dariusz Wolski’s cinematography is spectacular here, capturing the beauty, vastness, and loneliness of the Western landscape. Similarly, James Newton Howard provides a meaningful, if understated, musical score.
Ultimately, News of the World falls short of its potential. That’s not to say it’s bad – far, far from it. But there’s something the big screen adds to an experience like this. Maybe it’s the increased level of excitement it brings to slower paced action scenes. Or perhaps the booming audio would allow emotional moments to resonate on a deeper level. Yes – this is one of the best movies to release on a streaming service since the pandemic began. But it will only have you longing for these dull days to be over so you can experience film in its true form once again.
Final Score: 8.5/10
Do you agree with our News of the World review? Has our News of the World review convinced you to give it a watch? Let us know in the comments and don’t forget to check out our other reviews…
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Featured Image Credit: Bruce W. Talamon/Universal Pictures/Netflix
