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Review: ‘She Said’ chronicles the scoop that fed a movement

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Those old Hollywood newspaper flicks are great, but today’s journalists don’t run around newsrooms yelling “Get me rewrite!” Nor do they sprint across the room shouting “Stop the presses!” over the click-clack of teletype machines and manual typewriters.

But that doesn’t mean you can’t stage a thrilling scene in a modern newsroom where people stare at monitors, munch on takeout salads and try not to spill coffee on the keyboard. To wit: Just try not succumbing to goosebumps in “She Said,” the story of the New York Times’ initial Harvey Weinstein scoop, when the editor’s cursor finally hits “Publish.” Or not gasping aloud, which I heard myself doing.

But “She Said,” a worthy entry to a film genre that includes “Spotlight” and of course “All the President’s Men,” isn’t just about the power of journalism. It’s also about courage, from the women who suffered sexual harassment or assault at Weinstein’s hands and came forward at personal risk — to their careers, reputations or well-being. It was their bravery that enabled reporters Jodi Kantor and Megan Twohey to tell a story that helped launch the broad reckoning known as the #MeToo movement. And it’s because of women like them — some famous actresses, but mostly young women trying to work in an industry they loved — that Weinstein sits in a Los Angeles courtroom this week, already serving a 23-year sentence in New York, and now facing seven more counts. (He’s pleaded not guilty).

Women like Laura Madden, for example. The film opens with her, an eager young employee of Weinstein’s company, Miramax, beginning what she hopes will be an exciting new career on a movie set in Ireland in 1992. Soon after, we see her running down a Dublin street in tears, clutching her clothes after a hotel-room encounter. Some 20 years later, the older Madden (a heartbreaking Jennifer Ehle) goes on record in the Times coverage, telling the journalists that Weinstein that day “took my voice away … just as I was about to start finding it.”

“She Said,” starring Carey Mulligan as a quietly intense, driven Twohey and Zoe Kazan as a perkier, more exuberant Kantor, is largely faithful to the 2019 book, released two years after the story broke. Readers will recognize many conversations word-for-word.

But director Maria Schrader and screenwriter Rebecca Lenkiewicz had to make key cinematic decisions. Among them: how to portray Weinstein. It feels right that we never see his face. He’s heard only in phone calls, except when he shows up unannounced at the Times in a last-ditch attempt to charm, scare or shame the reporters off, and then we see only an actor’s back.

The decision is important not least for the message it sends: this story may involve Weinstein, but it is not HIS story. It’s a story of the women who brought him to account — former employees, or actresses like Ashley Judd, a key voice in the Times article. Judd plays herself here, and who better to describe her own experience?

Also deliberate: No assault is re-enacted. We do, though, hear the actual confrontation between Weinstein and model Ambra Battilana Gutierrez, recorded in a police operation. As the camera settles on a carpeted hallway of a hotel — the frequent scene, from New York to LA to Cannes to Sundance, of Weinstein’s misdeeds — the real Weinstein cajoles the woman to come inside his room, even for five minutes. “Don’t ruin your friendship with me for five minutes,” he implores.

Unlike the book, the film fleshes things out by depicting the reporters’ personal lives. The results here are mixed. On the one hand, we want to know more about them: In Mulligan’s nuanced, lived-in performance, we see the effects of post-partum depression on Twohey, for example. As for Kantor, she’s depicted in the everyday struggle of caring for kids while getting work done. (In a lighthearted moment parents can relate to, she silently offers her child the Netflix password when a source calls.) But for both characters, there just isn’t time for enough backstory, so it feels cursory.

We do get to experience the nuts and bolts of reporting — not easy to depict, since much happens in emails, texts, calls. Luckily, there are doorstep encounters. One woman slams the door in the duo’s face. Another tells Twohey that the matter has been amicably resolved, her obvious anguish making it clear she’s bound by a financial settlement not to speak.

A terrific Patricia Clarkson plays the team’s hardworking editor, Rebecca Corbett. Andre Braugher is calmly decisive as former executive editor Dean Baquet, telling his reporters it’s time to start writing. Like Ehle, Samantha Morton is memorable as Miramax employee Zelda Perkins.

If anyone (besides Weinstein) comes off particularly badly, it’s his lawyers. Lanny Davis (an excellent Peter Friedman from “Succession”) suggests the “real” story to pursue is not the mogul’s actions but his evolution into a better man. The words of lawyer Lisa Bloom, whose Twitter bio describes her as fighting for victims of harassment and abuse, are revealed in a memo to Weinstein that Twohey obtained, asking to be retained by his team, telling him how to recast himself as the “hero” of the story, and suggesting how to discredit accusers like actress Rose McGowan. (Bloom has said she is sorry for working with Weinstein.)

“She Said” ends with the reporters and editors hunched over the terminal, reading the story once more, getting rid of a few double spaces, and pressing the button. There’s no way they could have known what forces their reporting would help unleash — forces still swirling five years into a movement that has had successes and setbacks, triumph and backlash. Things were really just getting started that day in 2017, and it feels like they still are.

“She Said,” a Universal Studios release, has been rated R by the Motion Picture Association of America “for language and descriptions of sexual assault.” Running time: 128 minutes. Three stars out of four. MPAA definition of R: Restricted. Under 17 requires parent or adult guardian.


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Vatican Swiss Guard slayings back in spotlight with new book

ROME — The mother of a Swiss Guard member accused of committing one of the most sensational crimes in recent Vatican history – fatally shooting his commander and the senior officer’s wife before killing himself — is turning to the United Nations and Pope Francis in hopes of getting some closure nearly a quarter-century after the slayings.

Muguette Baudat was on hand Tuesday as her lawyer, Laura Sgro, a veteran defense attorney in Vatican criminal trials, detailed her efforts to pry information out of the Vatican and access the court file into the May 4, 1998 slayings that are recounted in Sgro’s new book, “Blood in the Vatican.”

“I’ve been waiting for more than 24 years, so I don’t expect anything,” Baudat said at a book launch event. But she added: “The book is very important.”

Within hours of the slayings, the Vatican spokesman announced that Baudat’s 23-year-old son, Cedric Tornay, a noncommissioned Swiss Guard officer, had killed Col. Alois Estermann and Estermann’s Venezuelan-born wife, Gladys Meza Romero, with his service revolver and then turned the gun on himself. The spokesman said a buildup of resentment over a reprimand by Estermann and the denial of a decoration, combined with a ″peculiar″ psychology, led to Tornay’s violent acts.

Nine months later, in February 1999, the Vatican released a 10-page summary of its internal investigation that confirmed its initial assessment. It concluded that Tornay was solely responsible for the murder-suicide but added that his marijuana use and a brain cyst the size of a pigeon’s egg could have impaired his reasoning.

Baudat spent two decades campaigning for more information and hired Sgro in 2019, asking for the Vatican investigation to be reopened. She said her request was not spurred by a belief that the Vatican was responsible, but rather to end the secrecy with which it has always handled the case.

Last year, the Vatican secretary of state intervened personally in the case and asked the Vatican tribunal to pay “particular attention” to Baudat’s request. Sgro was granted access to the court file.

In the book, Sgro details what she found in the file, as well as the conditions imposed on her by the Vatican prosecutor for viewing it: She wasn’t allowed to make copies but could only view the documentation in the tribunal, with two gendarmes standing behind her back monitoring her at all times. She was allowed to take some notes but not too many since she was explicitly barred from copying the text. She had to submit her notes to the prosecutors’ office after each viewing session, which took place over the course of a year.

And what she discovered in reading the court file, she said Tuesday, “confirmed all the doubts that the mother had about an investigation conducted in an absolutely superficial way.”

Sgro noted that at least 20 people were allowed access to the crime scene in the moments after the slayings, including chaplains, monsignors and the Vatican spokesman, none of whom wore protective gear. No fingerprints or blood samples were taken, and no DNA tests performed.

A handwriting analysis of a letter, purportedly from Tornay to his mother and foreshadowing the killings, was done on a photocopy, not the original document. The corpses were moved around the Estermann apartment, as was furniture, according to 38 photographs taken by a Vatican newspaper photographer that were in the court file. Autopsies were performed not in a hospital morgue but in the crypt of a chapel inside the Vatican walls.

“After one hour, Cedric was given up as the guilty one and the investigation was built around this, and this is absolutely the most alarming thing,” Sgro said.

The lawyer alleged that the conditions in which she was forced to work to view the file, as well as the mother’s long fight to find information about her son, constituted human rights violations that should be taken up by the U.N. Human Rights Council in Geneva.

There was no indication Tuesday whether the U.N. might take up her case, since such complaints must show a consistent pattern of “gross violations” of human rights, such as the policy of apartheid in South Africa.

Sgro said she had little other recourse since the Holy See is not a signatory to the European Convention on Human Rights, and therefore not a party to the European Court of Human Rights in Strasbourg, where such appeals would normally be heard. The Holy See enjoys observer status at the U.N. and has received criticism from U.N. human rights experts over the clergy sexual abuse scandal.

Sgro said she sent a copy of “Blood in the Vatican” to Pope Francis and he responded with a personal letter. His response, she said, gave her hope that the Vatican might be ready to acknowledge that its original investigation was flawed and that Tornay’s legacy might somehow be rehabilitated even if he is confirmed as the killer.

“It’s a small drop after 24 years of silence,” Sgro said. “Let us hope this drop becomes a glass of water, then a lake.”

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Clarence Gilyard, ‘Die Hard’ and ‘Matlock’ actor, dies at 66

Clarence Gilyard Jr., a popular supporting actor whose credits include the blockbuster films “Die Hard” and “Top Gun” and the hit television series “Matlock” and “Walker, Texas Ranger,” has died at age 66

NEW YORK — Clarence Gilyard Jr., a popular supporting actor whose credits include the blockbuster films “Die Hard” and “Top Gun” and the hit television series “Matlock” and “Walker, Texas Ranger,” has died at age 66.

His death was announced this week by the University of Nevada, Las Vegas, where he taught stage and screen acting. Additional details were not immediately available Tuesday.

“Professor Gilyard was a beacon of light and strength for everyone around him at UNLV,” the school’s film chair, Heather Addison, said in a statement. “Whenever we asked him how he was, he would cheerfully declare that he was ‘Blessed!’ But we are truly the ones who were blessed to be his colleagues and students for so many years.”

Gilyard was a Moses Lake, Washington, native. He had a prolific career as an actor, starting in the 1980s with appearances in “Diff’rent Strokes,” ”The Facts of Life” and other shows. He then appeared in two of the biggest movies of the decade: “Top Gun,” in which he played Sundown, a radar intercept officer, and “Die Hard,” when he was featured as a villainous computer maven whose one liners included “You didn’t bring me along for my charming personality.”

In the 1990s, he was on the side of law enforcement in “Matlock,” playing opposite Andy Griffith, and “Walker, Texas Ranger,” which starred Chuck Norris. His other credits include “The Karate Kid: Part II,” a stage production of “Driving Miss Daisy” and an appearance alongside “Die Hard” star Bruce Willis in a commercial for DieHard batteries.

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Review: Slice into the holiday spirit with ‘Violent Night’

The holiday season is upon us and how better to celebrate than watching Santa slip several pool balls into a Christmas stocking, swing them in the air menacingly and see him cave in someone’s face?

Such is “Violent Night,” a film that clearly no one wanted but somehow nicely acts as a chaser to all the sticky sentimentality this time of year. It is billed as an “alt-Christmas action-comedy” and it may be a litmus test of who is your real tribe: If you think watching Santa try to strangle a guy with Christmas lights is funny, this is the film for you.

Directed by Tommy Wirkola, “Violent Night” has taken the season’s naughty or nice dichotomy deeply to heart, offering pounds of gore and wounds that spurt mini-fountains of blood along with tooth-aching sweetness about believing in Santa and the true meaning of Christmas.

It’s easy to initially dismiss it as an “SNL” digital short that got high on its own tinsel but there is a sort of perverse glee to seeing Santa suck on the tip of a candy cane until it is a sharp shard and then plunge it into a bad guy’s neck. Isn’t it time for Kris Kringle as a sociopath?

Few people can balance all these demands as Santa except David Harbour, who specializing in gruff-on-the-outside, sweet-on-the-inside teddy bears. This time, his beard soaked in blood, he must save an ultra-rich family from a murderous group of home invaders with automatic weapons and military training.

On his side: “Christmas magic,” which he reveals multiple times he does not understand and which allows the screenwriters — Pat Casey and Josh Miller — a yuletide-sized logical loophole. They’ve even given Santa an origin story as a centuries-old Viking raider with a fondness for crushing skulls with a hammer. He’d be on the naughty list, naturally.

We initially meet Santa in the present day at an English pub. It’s Christmas Eve and he’s hammered. There are other men dressed as Santas this night, but they’re just pretenders, like “Bad Santa.” He’s the real thing.

Tonight, Santa is worn-out and fed-up. The children these days just demand more and more presents — just grubby consumers. He even calls them junkies. “I forgot why I started doing it in the first place,” he says. “Maybe this is my last year.”

During his rounds, he happens to linger too long at the Lightstone family compound in Connecticut. A ruthless gang has just stormed inside hoping to relieve the family of $300 million and trapping Santa with just his magic bag of presents and a pent-up desire to hurt people.

John Leguizamo, so often the comedy relief in films, here is as heavy as it gets, an anti-Christmas madman who tortures with a nutcracker and gets some of the best over-the-top lines like “Christmas dies tonight” and “Time to kill Santa.” The film soon moves into “Die Hard” territory as terrorists play cat-and-mouse with a good guy inside the building.

Santa connects with one of the hostages — a little girl (Leah Brady, sparkling like an ornament) — who still believes in Santa. “You are more than the presents you bring,” she tells him. And so he proves that Christmas is indeed alive by systematically murdering every single bad guy and girl with a sledgehammer, aided by his new friend’s “Home Alone” boobytrapping skills and all to a soundtrack of Christmas songs by Burl Ives, Bryan Adams and Slade.

This is not a Norman Rockwell vision of Santa, of course. He has a torso full of tattoos and sutures his own wounds with Christmas tree ornament hooks. He vomits, impales baddies in spiky Christmas decorations and uses the sharp parts of a pair of ice skates with surgical precision. Few films have earned their R rating better. All that’s missing is you as long as you think it’s time to add a little blood to Christmas?

“Violent Night,” a Universal Pictures release that opens nationwide in theaters Friday, is rated R for “strong bloody violence, language throughout and some sexual references.” Running time: 112 minutes. Two and a half stars out of four.


MPAA definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.




Mark Kennedy is at

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