Jeffrey Wells, writes, “In a 4.20 column, Marshall Fine notes how two semi-major studio movies released within a week of each other — “State of Play” and “The Soloist” — are (a) about print journalists and (b) are naturally including glimpses of the downsizing and death of the newspaper business.”
But “glimpses” is absolutely right and Fine is overstating things. The original ‘Soloist’ script had an abundance of the downsizing pains and death of print/journo motifs that featured in “State Of Play” that yes, would have really made it a an extremely loud theme in mainstream movies — it was almost as front and center as the Russell Crowe film originally — but in the version that comes out in theaters this weekend, that idea is barely there, just small glimpses.
We wrote in our December script review of the film. “Note: fans of the fifth season of ‘The Wire’ might enjoy this one too, as the film is anchored by the Los Angeles Times newsroom undergoing the same kind of “do more with less” crisis that seems to be inflicting all paper media.”
Essentially, in the script, it’s a major theme in the picture as it is in “State of Play” (arguably, the loveletter to print is more beloved by the filmmakers than the thriller at hand which almost seems obligatory), but onscreen you’ll only get a whiff of it. Making too much of the similarities is well… making something out of nothing frankly. Fine is just using the point as a stepping stone to note how movies are behind and how print is on life support, but still. It seems like a whole lot of nothing.
Meanwhile, Variety has already dropped its ‘Soloist’ review and it’s none too kind. “Neither rarefied art film nor widely accessible inspirational drama, “The Soloist” falls between the cracks both creatively and commercially…. The overworked style and heavy socially conscious bent exude an off-putting sense of self-importance, making for a picture that’s more of a chore than a pleasure to sit through. Delayed from an original late 2008 release to an April 24 opening, this DreamWorks/Universal co-production, released Stateside by Paramount, will ride a short time on the names of co-stars Jamie Foxx and Robert Downey Jr., but is an unlikely bet to stir up significant B.O.”
The Hollywood Reporter is slightly more kind, calling it an “excellent if flawed film.” We have yet to write our review yet, but we can tell you right now, we’re squarely with Variety on this one. BTW, here’s a good 60 Minutes piece on the backstory between the two real-life characters in the film, an L.A. Times reporter (who Downey plays) and a schizophrenic, homeless cello prodigy (Foxx)
