Kevin McDonald's State of Play is, for most of its running time, a tight, tidy, efficient thriller that combines two of our most durable melodramatic subgenres (the newspaper mystery and the conspiracy thriller) as smoothly as they've comingled since All The President's Men. Utilizing a crisp screenplay from a team of blue chip scenarists (based on the BBC mini-series), McDonald navigates a deliberately byzantine narrative, frequently focused by a fine ensemble cast fully inhabiting their admittedly stock characters.
Russell Crowe (doing some of his sharpest and most lived-in work since The Insider) stars as Cal McAffrey, a Washington, D.C. newspaper reporter investigating a seemingly random double murder in a rough neighborhood (the bravura opening sequence, showing that ruthless execution, is the most memorably breathless handheld open this side of Narc). The next morning, in a seemingly unrelated turn of events, the chief researcher for rising young congressman Stephen Collins (Ben Affleck) ends up underneath a subway train; it may or may not have been a suicide, but it's clear fairly quickly that her relationship with the congressman was more than professional.
The dirty details of that story are of great interest to Della Frye (Rachel McAdams), who writes for the online version of Cal's paper, but she goes to the older reporter looking for help, as he and the congressman were college roommates and (we find out later) Cal and Mrs. Collins (Robin Wright Penn) are more than a little friendly as well. Cal blows Della off (the old-school print reporter's distaste for the young blogger is a detail that plays very believably), but before too long--you guessed it--their stories end up intertwined. Just once in my life, I will see a mystery movie where the two seemingly unrelated mysteries stay that way right up through the end credits.
So that's a convention that we could do without, and some of the characterizations--particularly Helen Mirren's impatient editor and Jeff Daniels' smarmy, corrupt politico--have been done to death. But the film's three crackerjack screenwriters--Matthew Michael Carnahan (The Kingdom), Billy Ray (Shattered Glass), and the great Tony Gilroy (Michael Clayton and the Bourne series)--imbue even the smallest characters with depth and dimension; there are so many good lines, even the walk-ons get some.
Also worth noting is the script's refusal to throw Cal and Della into bed together; that kind of unnecessary action is less frequent these days, but the restraint is still worth singling out. Their relationship takes on a mentor/pupil air around the end of the first act, and the duo does right by it--and besides, the age difference would be too distracting. Speaking of distracting age differences, I'm not sure what kind of hard living we're to believe Cal has been doing since college; suffice it to say that that graying of the temples doesn't help sell us on the idea that baby-faced Affleck and gruff Crowe, eight years his senior, are the same age. Affleck is passable if not exceptional--I've never jumped on the Affleck-hating bandwagon (the unfortunate turns of his career circa 2003-2004 were the result of bad script choices, not bad acting), though he seems to be unsuccessfully reaching in his more emotional moments here.
McDonald (The Last King of Scotland) gets the atmosphere of the newsroom right (particularly in its final, late-night scene) and orchestrates the picture competently, though it drags a bit in the middle--you'll know things are picking up when Jason Bateman struts in (he's becoming a more and more valuable utility player). From there, the various story threads pull together into a nice, compact, satisfying ending--and then the film pulls the string one time too many, unraveling the whole damned thing.
I'm not sure who's to blame for the one-turn-too-many final beat (it may well have come from the source material), but it doesn't work; it feels like the writers are being clever purely for the sake of being clever. It's doesn't derail the entire picture, by any means--there's still plenty to recommend here, from the performances to the sharp dialogue to the brisk, rat-tat-tat action scenes. But it is the moment where you feel a great movie becoming a very good one.
THE BLU-RAY DISC:
Director McDonald and cinematographer Rodrigeo Prieto (the marvelous d.p. who lensed 25th Hour, 21 Grams, Frida, and Brokeback Mountain) work in a pretty muted color palate here, but the 2.39:1 image is smooth and sharp. Much of the film is played in darkness and shadows, which hold up well in the 1080p transfer--blacks and rich and show no evidence of crushing, while low-light situations are free of the heavy grain that often invades lesser transfers. Skin tones are natural and apparently DNR-free.
The emphasis on characterization and dialogue over mindless action makes for a fairly dialogue-heavy sound mix, but the English 5.1 DTS-HD MA track makes full use of the picture's bursts of action. Sound is immersive and vivid, with effects popping from all channels in sequences like the opening chase and an unexpected hospital crime. Dialogue is clear and mostly audible, though Crowe's whispery delivery may occasionally have you reaching for the remote to crank things up.
The disc also comes with Spanish and French 5.1 DTS tracks, in addition to English, Spanish, and French subtitles.
Blu-ray owners are the big winners when it comes to bonus feature here; the shared extras are a little underwhelming, but the HD release includes some stellar exclusives. Both releases include a couple of Deleted Scenes (3:39 total); one, an extended version of a scene that turns up during a montage in the final cut, is disposable, but the other provides a good scene for Robin Wright Penn that should have been included. "The Making of State of Play" (18:45) is a well-produced and detailed featurette; it's slick, but solid.
The meat of the bonus material is in the U-Control features, which can be jumped to directly from the main menu or viewed while the film is playing. The "Picture in Picture" option offers exhaustively detailed behind-the-scenes footage, stills, and interviews; the "Washington D.C. locations" option uses on-screen text and Google Earth graphics to show the government buildings and D.C. spots where the scenes take place (and, frequently, where they were shot). There's an abundance of material here, and most of it is pretty interesting.
The disc is also BD-Live enabled, though nothing was yet available at the time of this review.
State of Play is sharp and entertaining, and certainly solid enough to warrant a firm recommendation--and it is a film that holds up to repeat viewings thanks to its sturdy performances and skillful craftsmanship (and in spite of the viewer's knowledge of its outcome). But you may find yourself doing some re-edits of your own if you give it a second look.
Jason lives with his wife Rebekah and their daughter Lucy in New York. He holds an MA in Cultural Reporting and Criticism from NYU. He is film editor for Flavorwire and is a contributor to Salon, the Atlantic, and several other publications. His first book, Pulp Fiction: The Complete History of Quentin Tarantino's Masterpiece, was released last fall by Voyageur Press. He blogs at Fourth Row Center and is yet another critic with a Twitter feed.