Being the country where the movie industry thrives the most, it's only natural that a lot of the scripts, are actually about that same country's history

I've seen a lot of american movies, based on true political events that have continuously shocked me to my core, on how powerful law enforcement and government institutions keep getting away with the most inhuman actions, and even worse, these actions being completely ignored or supported by the people

I get it, the political climate in the US will make people dislike the movie if they tend to support a specific political color, given the interventionists, however as a non-american I appeal everyone to look away on political ideology and really absorb the message, as being ignorant is no longer an excuse. It's not about politics, race or whatever other topic that keeps dividing people, it's about the total lost of humanity

As a movie is well executed and conveys the event's story line in a concise and organized fashion. Adam Driver delivers, and the high score goes for the message and awareness!

A very interesting and shocking lesson in history. It does not disclose anything we did not know before but it is shocking to see how much it was tried to be hidden. We got a lot of disclosure movies like this in the part and this is one of those that can be perfectly put in line with many classics off its kind. The acting was great. Adam Driver put so much energy into his role. It really shows. And even though not much back ground information or special character traits were developed for his role, he portrayed it on such a human and realistic way. Hands down one of the best best lead performances of the year so far. Annette Being was similar powerful. What made her performance was so special was the subtleness of it... not one of Bening's specialities as she is a very theatrical actress, but here she showed her calmer side and shows the same intensity as usual. I also enjoyed Jon Hamm and many of the other supporting players, there was not one weak performance. The screenplay was great, I only had some issues with the different time lines all the time, but it was effetely solved by working with colors. A really good lesson in recent history. Not dry at all, although it looks like it. Recommended.

Anyone who has read even a little history knows that as a method of extracting useful intel, torture doesn't work. It didn't work for the Spanish Inquisition, it didn't work in Salem, it didn't work in Vietnam, it didn't work here in Ireland during the 800 years of English occupation. It has never worked and it never will, a fact known since at least the 17th century (although the Ancient Romans also had their suspicions).

Written and directed by Scott Z. Burns, The Report tells the story of the Senate Select Committee on Intelligence's $40m, five-year investigation into the CIA's illegal use of torture in the years after 9/11, and the subsequent attempts to cover it up. From 2002-2008, the Detention and Interrogation Program (to give it its official title), saw the CIA employing "Enhanced Interrogation Techniques" (EIT), at a cost of $80m to the American taxpayer, with detainees held in secret locations around the world (known as "black sites"). Completed in 2012, the Committee's findings were detailed in a 6,700-page Report, which remains classified, although a redacted 525-page Executive Summary was published in 2014. What the film does exceptionally well is to condense this vast quantity of information down into a relatively easy-to-digest narrative. More of a procedural drama than a political thriller, it could do with a little emotion, and there's no denying that it's very, very talky, perhaps to the extent of being more suited to stage than screen. However, irrespective of this, it's a brilliantly acted, unflinching, and insightful look at one of the most shameful moments in US history.

The film's plot is extremely straightforward - in light of the Agency's 2005 destruction of 92 videotapes containing interrogation material, Senator Dianne Feinstein (Annette Bening) appoints Senate investigator Daniel J. Jones (Adam Driver) as the head of a bipartisan six-person team (three Democrats, three Republicans) to investigate the Agency's general conduct when interrogating suspected terrorists. The film then takes us (often achronologically) from the commencement of the investigation in early 2009 on up to the fight to have the Report made public in 2013/2014, with both the CIA and the Obama Administration throwing up multiple obstacles. Along the way we're introduced to a plethora of characters, embodied by an exceptional cast with not a weak link amongst them - there's John Brennan (the always superb Ted Levine), Director of the CIA; Bernadette (the goddess that is Maura Tierney, playing against type) a thinly-veiled fictionalisation of Gina Haspel, Base Chief at Detention Site Green in Thailand and current CIA Director; Denis McDonough (Jon Hamm), White House Chief of Staff; Caroline D. Krauss (Jennifer Morrison), General Counsel of the CIA; Thomas Eastman (Michael C. Hall), CIA counsel; Raymond Nathan (Tim Blake Nelson), a fictional composite representing the members of the CIA's Office of Medical Services stationed at Detention Site Green, who raised early concerns about EIT; James Mitchell (Douglas Hodge) and Bruce Jessen (T. Ryder Smith), the psychologists who developed and implemented the EIT program; Ali Soufan (Fajer Al-Kaisi), an FBI agent assigned to the Bureau's Osama bin Laden unit, "I-49"; and an unnamed New York Times reporter (Matthew Rhys), to whom Jones considers leaking classified material.

Although The Report doesn't repeat anything specifically depicted elsewhere, it does cover some of the same general narrative ground as The Looming Tower (2018) and Vice (2018) - Soufan, for example, is in both this film and Looming Tower, and although Dick Cheney and George W. Bush (the central characters in Vice), appear don't here, they hover constantly on the margins, hidden from sight but everywhere apparent. It's also worth mentioning that, as with both The Looming Tower and Vice, The Report is a left-centric narrative, especially in terms of its depiction of EIT and how the CIA lied and falsified data.

The depiction of Mitchell and Jessen is particularly condemning (we know from the get-go that Mitchell is an idiot because he refers to himself in the third-person). If the film has any villains, it's these two; snake-oil salesmen with psychology degrees but no experience of actual interrogations and no data to back up their claims that torture works (because no such data exists). Indeed, this element of the film was deeply personal to Burns, both of whose parents are psychologists. As he explains to PBS, he found it abhorrent that "people had figured out a way to weaponise psychology", which he believes is a tool that "exists to help people". Mitchell and Jessen are shown as enjoying the experience of hurting these people - their justification for doing so (that such interrogation will save lives) exposed as utterly fabricated. At one point, Jones reports to Feinstein that Khalid Sheikh Mohammed had been waterboarded 183 times without any results, prompting her to ask, "if it works, why did they need to do it 183 times?" Why indeed.

The film makes no bones about just how ineffective EIT actually was, and how full of garbage Mitchell and Jessen were, despite some Republicans maintaining to this day that it saved lives. In this sense, the audience is made privy to all the useful and accurate information gleaned from EIT - nothing, zero, nada, no thing, not even one thing. As per the Panetta Review (2009), the CIA's own internal inquiry, not a single piece of solid intel was ever extracted from any detainee in the program. Indeed, the contrary was true - EIT led to detainees shutting down or providing false information, or information they knew the CIA already possessed. As Jones states, "all they did was make it impossible to prosecute mass murderers."

Also emphasised is the CIA's attempts to provide legal justification for EIT, with the so-called Torture Memos cropping up a few times. Perhaps the most significant rationale in the Memos is that the program can only be legal if it resulted in "unique, otherwise unavailable" intelligence. Or, as Bernadette says in the film, "it's only legal if it works." With this in mind, the film depicts the CIA as hedging their bets - gambling that people won't care how the information was obtained if such information leads to the capture or death of bin Laden (which it did not).

Thematically, although the film examines multiple politically charged themes, for the most part, its thematic concerns are understated. For example, the Republicans who oppose the Report adopt a stance of "admit nothing, deny everything, make counter accusations". The filmmakers, of course, had no idea that their movie would be in cinemas concurrently with a House Intelligence Committee impeachment inquiry into the actions of the current president, Donald Trump, who has adopted an identical position from his first day in office. This parallel is never explicitly addressed, but it's right there for those willing to see it. It's also important insofar as one of the film's most salient themes is that the CIA's flagrant disregard for the rule of law, the Constitution, and basic human rights must never again be allowed to happen. This is not to suggest that Trump has sanctioned torture (although at this point, would it surprise anyone), rather to illustrate how quickly we forget the lessons of yesterday.

Although it's mentioned on several occasions that Jones's team and the Report itself must avoid partisan politics, like so many aspects of life in the US, the investigation and debate regarding publication split along broadly partisan lines - the Intelligence Committee voted to publish the Executive Summary by a vote of 9-6; the eight Democrats and Olympia Snowe against six Republicans. John McCain was a member of the Committee ex officio, and so didn't have a vote, but made it known he agreed with the Democrats and Snowe. On the other hand, neither Obama nor John Kerry were overjoyed about releasing even a redacted version, and McDonagh wanted more redactions than were ultimately used. Also in service of a balanced depiction, the film references Feinstein's disdain for Edward Snowden and whistle-blowers in general. It's to the film's credit that it doesn't shy away from such opinions, thus avoiding an overly neat dichotomy of Democrat=good/Republican=bad.

Despite its importance, however, I can't see The Report packing them in at the multiplex. For one, it's exceptionally talky. I would argue that this simply positions the film in the theatrical tradition, but I can certainly understand people regarding it as one step removed from an audio recording of the actual Report. There's also a distinct lack of emotion - every time Jones begins to emote, somebody shuts him down. Along the same lines, there's no character development - we learn nothing about anyone beyond their involvement or connection with EIT and the Report; we never see where they live, we never see family members, we're not made privy to who they are as people. This is by design of course, with Burns wanting to focus on the facts, but again, I can understand people finding it unsatisfactory. All of this results in a dry and sterile film that leans entirely on its procedural elements, which certainly won't be to everyone's taste.

The Report is a straightforward and restrained film, in which Burns's focus is razor-sharp and unwavering. Depicting how EIT shamed the nation, betraying the very values that were supposedly being fought for in the first place, the film excoriates both the Bush administration for letting it happen and the Obama administration for its reluctance to make it public. It's not exactly exciting in a traditional sense, but it sure is compelling; a story that's infuriating insofar as it actually happened, horrifying insofar as, given the clown currently in the Oval Office, it could easily happen again.

It tells an engaging and disturbing story of someone who is willing to go after giants, even though the chances of winning are slim. Thank you for choosing what is right, but not what's easy.

'The Report' couldn't get made at a better time. With everything happening in today's American and global political climate, it shows how little the general public actually is allowed to know about whatever happens within the borders of their government buildings. An entire country is at stake when secrets come out, that shouldn't have been secrets in the first place when laws get executed correctly.

Idealistic Senate staffer Daniel J. Jones (Adam Driver), gets tasked by his boss, Senator of California Diane Feinstein (Annette Bening), to lead an investigation into the CIA's post 9/11 Detention and Interrogation Program. Jones' relentless pursuit of the truth leads to findings that uncover the lengths to which the nation's top intelligence agency went to destroy evidence, subvert the law, and hide a shocking secret from the American public.

Scott Z. Burns hasn't directed a feature length film since 2006's 'Pu-239'. Having previously written films such as, 'The Laundromat', 'Side Effects' and 'Contagion', it seems he has a very good work relationship with this films' producer Steven Soderbergh (director of last named films). With 'The Report' he knows what he's going for and doesn't hold back on any occasion. The story goes off like a missile, and only slows down when hitting its target at the finish line. That might be a challenge for some viewers, but the suspense throughout the second and third act is rare and delivers what political polymaths are looking for. To those who aren't particularly interested in politics and cover-ups, this might be a tough one to sit through.

Adam Driver, is truly on a roll these last couple of years. With two more films on the horizon in the last two months of 2019 ('Marriage Story' and 'Star Wars: The Rise of Skywalker'), it seems there's no stopping him in becoming one of the most talented actors of this generation. He shows just how focused and career driven he is as his character Daniel J. Jones. He's unsurpassed and will definitely get recognition for his hard work coming awards season.

What plays like a political 'Social Network', could've benefited from a rewrite by Aaron Sorkin, just to streamline it a bit more. The dialogues are heavy and littered with dark humour, but without any real character development, it misses the opportunity to make the audience connect with anyone on a deeper level. You never get to look behind the suits into their homes. The mental struggles of being accused of whistleblowing and torturing people, must take its toll on politicians and CIA-agents, no? We get little hints at their personal lives when being interrogated by government officials, but this is all just small talk. It does go without saying, Greg O'Bryant deserves much praise for editing this film. I wonder how long the rough cut must've been.

There's a wide range of well known actors passing by as fundamental characters in the big scheme of things. Annette Bening, brilliant actor taking on the full look and characteristics of Senator Feinstein, doesn't have many explosive scenes to wow, but is subtly captivating. Corey Stoll, Jon Hamm, Maura Tierney and Michael C. Hall all have important parts to keep things moving, but with the little amount of screen time fail to impress with anything more than acceptable.

Burns' 'The Report' is an important watch, delivering facts in a striking manner. It's worth watching for Driver's performance alone, observing a man who loves doing his job and excels at it. A history lesson in American politics and terrorism with a little dig at propaganda filmmaking and journalism, and a big spotlight on the CIA's misconduct.

Scott Z. Burns has managed to create a contained, focused and relevant drama on important and true events. The movie is just as dedicated and willful as its main hero Daniel J. Jones, portrayed effectively by Adam Driver. Some will find it dry, some will rate it based on their political agendas, some will bash Adam Driver (for reasons I have never understood), but I think, while not without flaws, "The Report" is an admirable effort.

I'm thousands of miles away from the land of America, but I was at least vaguely familiar with the facts and happenings "The Report" is based on, the larger canvas was clear to me. "The Report" is not a spectacle, it's not overly dramatic, but moves at an even pace, offers constant flow of plot development instead of boredom - these are also the reasons why some may describe the movie as dry, promising a delivery that never comes - I get that, but I also disagree. Another satisfying aspect is the more than stellar cast, even most of the really small roles are filled by talented and known faces. Adam Driver has never failed me before, also not this time & I don't know wether the hate for him is a meme or just another dismissible and disrespectable creation by our ever degrading virtual society. I was slightly disappointed about Jon Hamm, whose face on the poster turned out to be more of a marketing device, as his total screen time amounted to around 10 minutes, maybe. I love me some Jon Hamm. All jokes aside, "The Report" might not be an exceptional, but definitely is a great effort on every level of filmmaking - acting, writing and directing included. If we talks visuals, the cinematography and aesthetical mood does nothing but adds to the overall tone and cinematic flow.

"The Report" is easy to disappear in, it's an engaging re-telling of a morally messed up events & through a convincing performance by Adam Driver we are able to identify with the subject in question. As far as political and true-events-based dramas go, "The Report" is a remarkable piece. My rating: 8/10.

How astonishingly difficult it is to deal with the CIA inour system of government.

Straight to the point , no nonsense true story. Adam Driver is 10/10 and deserves every accolade.

Watch it

Greetings again from the darkness. Does the end justify the means? Do two wrongs make a right? These are questions of ethics and morality, and when it comes to the government, they can also be questions of legal and illegal, or even life and death. Scott Z Burns offers up his feature film directorial debut, and he has been best known as a screenwriter for Steven Soderbergh films such as THE LAUNDROMAT, SIDE EFFECTS, and THE INFORMANT! Mr. Burns certainly didn't choose an easy route for his first time in the director chair, as this is a heavy, thought-provoking, stomach-churner.

Adam Driver plays Daniel Jones, a Senate staffer under Senator Dianne Feinstein. She charges him with leading the Senate investigation into the CIA's Enhanced Interrogation Technique (EIT) program after the 9/11 attack. It's easy to see why so many viewed this as a bad gig, but Jones became obsessed with uncovering the truth about what happened, who did what, and who knew what and when they knew it. This government procedural offers us an education on red tape, political boundaries, and the expertise in protecting fiefdoms in D.C. In other words, everything that we fear and despise about our own government officials is on display here.

That said, it is refreshing to see someone so focused on getting to the truth as Jones is/was ... despite the systematic obstacles (destruction of tapes, party divisions). Annette Bening shines as Senator Feinstein and is quite effective in portraying just how difficult it can be for politicians to juggle all sides and pressures when a topic is so "hot". The film covers a period between 2003 and 2012, and most of the run time is spent on Jones' research for the report. The supporting cast is deep and talented, and includes Jon Hamm as Obama Chief of Staff Denis McDonough, Michael C Hall, Maura Tierney, Victor Slezak, Tim Blake Nelson, Ben McKenzie, Matthew Rhys, Corey Stoll, and Ted Levine (as CIA Director John Brennan). One of the more interesting aspects of the film involves the contractors behind the EIT program. Basically, they are academics with no real world case studies or experience - just two guys looking to cash in on a lucrative government deal at a time when a country was desperate for answers.

Watching the battle over the final release (or not) of "The Torture Report" (the word torture was redacted here) injects quite a bit of tension, and the inclusion of archival footage from the period is very effective. What's less effective is the overuse of shaky-cam in the first portion of the film, and the score is downright annoying at times as it attempts to ensure we are frustrated with the political wranglings. On the other hand, the dialogue is really crisp and there are some quietly-tense exchanges between folks that are well-written and well-acted. Adam Driver carries the bulk of the film and he is perfectly cast.

The obvious comparisons are to ALL THE PRESIDENT'S MEN and SPOTLIGHT, though this one never quite reaches that level. Still, it's thought-provoking to watch as Jones considers a New York Times reporter to be the most ethical character he can turn to in his efforts to get the truth out. The film doesn't really choose sides ... everyone who participated in a cover-up or illegal activities takes a shot, as does Kathryn Bigelow's ZERO DARK THIRTY. This was a dark time in U.S. history, and it reminds us how difficult it seems to be to do the right thing while in government. Perhaps that's the biggest takeaway.

It took Senate staffer Daniel Jones seven years to compile the 6,700-page report that brought this and other failings to light - a laborious process unpicked by writer/director Scott Z. Burns (whose script credits include The Bourne Ultimatum and No Time To Die) in a talky yet engrossing drama intentionally reminiscent of All The President's Men. Tasked by Senator Dianne Feinstein (a coolly commanding Annette Bening) with leaving no stone unturned, Jones - infused here with simmering indignation by a driven Adam Driver - systematically details the brutalities inflicted on all of the Agency's 119 detainees. Having assembled his torture dossier, though, Jones faces another uphill struggle to get it published. As Matthew Rhys' reporter ruefully observes, "they sent you off to build a boat they had no intention of sailing." As vessels go, The Report is one so overloaded with names, dates, flashbacks and acronyms it's a wonder it stays afloat. That it does should be attributed not just to the dogged conviction Driver exudes as its righteous hero but also to the film's unshakeable belief that the ugly truth will ultimately out. Burns' film is not an easy watch, not least when it depicts what took place in Langley's infamous "black sites". Like the harrowing data that inspired it, though, it defies redaction.

Torture is a difficult topic to make a movie about. The film maker did a great job of it. Adam Driver was really good in this, he has an intensity which was perfect for the role.

This movie will be studied by Intel professionals for generations to come to remind us why torture is never the answer.

The Report is based on a real Senate Intelligence Committee investigation into EIT, or enhanced interrogation techniques - a phrase we all know and one that is kindly considered the work of a marketing department on how best to sell torture given that people (and lawyers) generally have a problem with torture. It is unsurprisingly fairly blunt on the approach taken and how wrong it was. This approach makes it an important and worthy film, but also makes it a slightly lesser one.

By being so obviously outraged the film plays to the choir a bit too much (a choir that contains me, if it matters). This translates into a directness and obviousness that feels a bit too simplistic and by the numbers; this is not me suggesting that it needed to make excuses for those involved, however it could have been more nuanced with the journey and had the confidence that at the end of it the viewer would still recognise how wrong this was. In not doing this, the film is still interesting, but it feels lacking in conversation and world building, instead very much making its point. Of course for me I agree with the point, so I went with the film, but it is very on-the-nose with what it does and how it structures it. In terms of delivery though, it does do well to make the writing of a report and reading of documents to be dramatic. The cuts in time work well to put meat on the bones and helps to mix the political, ethical, and real life aspects of it

The cast is impressive in name and performance. Driver does the heavy lifting, but there is plenty of solid support from Hamm, Bening, Hall, Nelson, Levine, and others. Production values are solid throughout, and are part of it feeling like a serious, important film. It stands as such, and is a good dramatic read on a shameful period of recent history that is already mostly forgotten as it gets eclipsed by other shameful moments, and goes unmarked by the lack of consequences for those behind it. It is more important than engaging though, and could have been a stronger film for embracing the complexity more than it did.

Want further proof that Adam Driver is one of the best actors operating today?

Want more insight into America's shady operations that often go by unannounced in the public eye?

Well you're in luck if you want either or both of those things (at once!) as The Report provides them in abundance.

Directed by screenwriter Scott Z. Burns, who has found his work in the spotlight of recent times thanks to his eerily prophetic work on 2011 pandemic feature Contagion, The Report takes an uncompromising look at the work of senate staffer Daniel J. Jones, who over the course of a number of years investigated the techniques and effectiveness of the USA's post 9/11 detention and interrogation programs, that by the law should never have been allowed to take place in the way in which they did.

This is the type of dramatic thriller that is devoid of gun fights or car chases as Burns instead follows Driver as Jones across the large time-span his work takes place in, as the idealistic American citizen finds himself shocked and appalled at the data he has been given access to as he and his small team look to shine a light on the operations that had seemingly been swept under the rug, held back from public scrutiny.

As the unassuming Jones, Driver delivers another awards worthy turn, it's not a showy piece of acting or as memorable as another piece of his 2019 work Marriage Story, but as Jones digs further and further into the files upon files of information he has been granted access to, all the while being met with constant opposition from various politicians and government operatives, Driver remains a powerful presence throughout, even if Burns doesn't strike pure thematic gold in his attempt to bring this tale to life.

Surrounded by recognisable figures like Annette Benning, Jon Hamm, Corey Stoll and Michael C. Hall, Burns doesn't appear to be able to create the support and insight outside of Jones quest to bring The Report to a full circle offering, at times it feels as though we are being short-changed as an audience in regards to screen time or insights into various motivations or character beats, no doubt a result of the film trying to cover off a number of years' worth of material and information in its attempt to give this investigatory matter time of day.

There's no big moments to be found here either, the film is almost entirely operating in a state of methodical movements that take place without any sense of urgency or rush, this is a style and delivery that maintains The Report as a solid and insightful offering, but one that lacks the power and conviction to make it top echelon.

Final Say -

A fine showcase for the amazing work of Adam Driver and another cinematic showpiece for the shady dealings of the American dream, The Report is solid stuff but not up there with the best of this type of true-life reporting behemoths.

3 ½ redacted names out of 5

The quality of the actors should tell you this is a worthy story to be told. So concentrate it's a complicated tale that spans years and crosses party lines. Diane Feinstein puts a tenacious man in charge of looking into torture by the CIA. There is a lot to learn about torture. The movie shows both sides with this povs. The justifiers want to prevent another attack and save lives. The critics say in the majority of times it doesn't work, they only get info they already know and sometimes they get the wrong guy. Their aren't many movies telling how a government agency does bad things. This is one of the few. Adam Driver gives a convincing performance - outraged when he needs to be but not overacted. Annette Bening plays Feinstein. A host of familiar faces add credibility to supporting roles. This movie keeps a complex issue clear and highlights the opposition to the report from both political parties. A brave movie.

I'm a big fan of a legal drama, and when you raise the stakes and make it all about a governmental cover-up, then you've really piqued my interest. I expected to like The Report a lot, and it did deliver some of the thrills that I enjoy from this type of drama. It's also extra impactful because it is all based on the real history of our nation. The other thing I appreciated about The Report is that it felt fairly apolitical. Sure, there are politicians who were involved in the planning and coverup of these detention centers, but there were definite mistakes made on both sides of the aisle when it comes to the handling of this information and the movie didn't shy away from that point. I also thought Adam Driver did a good job of playing a character who slowly escalates from dispassionate to fanatical as he spends more time working on this project. Perhaps my only complaint in the actors is that many of the CIA agents were played a bit over-the-top as conniving bad guys.

The unfortunate thing is that I don't think they did the best job of making The Report cinematic, and it lacked something in the story-telling department. Constantly recounting the atrocities done by members of the CIA, while showing many of them re-enacted, works to make a point and to shock the audience. However, at a certain point we get what they are trying to say, and yet they keep saying it for another hour. It begins to feel like the film-makers are reveling in the display of torture as much as those who performed the tortures. I can't count the number of times they repeat things in this film, and it wasn't advancing the story in any way. Meanwhile, there are more compelling parts of the movie that stall out with no explanation of any kind (like the main character's meeting with a lawyer.) I certainly think The Report contains important information and it is a story that needed to be told, I only wish it was told by someone who was more skilled than a guy who wrote a few mediocre Soderbergh movies.

Not comparing this to anything going on right now (let's not if you can), because the climate right now is toxic as it is. Especially because this shows the depths of politically tip toeing around certain subjects ... and trying to keep the peace, even when you know what is wrong ... and what is right.

So while there is a force trying to make things right ... you can understand all the side in this mix. At least I felt like that. And the great actors portraying the real people involved in this helped the issue (no pun intended). It may be long and there may be a lot of obstacles - but it is worth it, if you care enough. And why shouldn't you? What can be a "bummer" or a no go for some, is the depiction of violence or rather torture. But to really understand some of the stuff this is about it was necessary (imho).

A really well made movie, with fine performances and dialog and a (real life) story that is quite mind blowing ...

Riveting drama with lots of shots on Adam Driver's face, expressive and slightly asymmetric which adds to the dramatic effect. Annette Bening gives an excellent portrayal of Feinstien as well.

It is very sad that the film with this stature didn't get the mainstream recognition as it deserves, may be due to its plot hitting directly to one of the top intelligence agency of the world The CIA but we've seen in the past movies like The Post and Spotlight with bold Plots getting critical and commercial praises which is not the case when it comes to The Report. No doubts Scott Z. Burns is one of the good writers Hollywood has but not only with his writing this time he has also impresses us with his direction skills. From writing and directional perspective the film is lit combined with subtlety of Adam Driver's fine acting skills he impressed me again after The Marriage Story. Movie could've been summed up within 1 hour 30 to 40 mins instead of 2 hours run but nevertheless the plot is gripping as back & forth timelines especially torture scenes and Driver's performance will keep you intact. The film surely is one of the underrated movies of 2019 and didn't get its due credit.

Daniel Jones doggedly worked on a Senate Committee report into CIA torture of detainees after 9/11 apparently at the cost of any sort of life outside the job. It's an important story deserving of being told, and it's good when American film is prepared to air its nation's own dirty laundry. The end result however is that the narrative is so singularly focussed on Jones's objective that it comes across a little flat and devoid of emotion.

There's also some poetic licence, given that it's a film "based on" true events - ie what you see are not necessarily all true events. It tries hard to be non-partisan but from what we all know about politicians, some are represented as just too sanitised to be real. And the bad guys are a little too stereotyped as such.

Nevertheless it's a compelling story well worth telling. The script is good, the acting is solid all round and it did hold my interest, despite the limitations mentioned above. It is well worth seeing.

Acting is great, but script feels like political propaganda which makes democrats look like angels (the good guys) and republicans look like devils (stupid thugs). When a political story clearly does not show all the facts - does not show the real debate over the issue - of course you feel compelled to choose the angel's side. No brainer, right? The truth is, this is a very troubling topic and sometimes there is no right answer. This movie missed an opportunity to really push the viewer into a moral debate. And no, I am not a republican.