[FilmReview]TheContender(2000)7.1/0
Putting words like “Nobody wants to shoot the vice president” as a wisecrack in a POTUS-obsessed 6-year-old’s mouth, Rod Lurie’s political drama THE CONTENDER conspicuously tries ...
電影《暗潮洶涌》豆瓣評分高嗎?口碑怎么樣?
豆瓣評分6.7分,口碑中等偏上,是一部聚焦女性政客競選與媒體攻擊的政治劇情片。推薦觀看《總統殺局》——同樣以政治競選為背景,展現權力斗爭與道德困境的驚悚劇情片。
電影《暗潮洶涌》在哪里可以看在線完整版?
可在主流影視平臺搜索觀看,該片是2000年上映、由加里·奧德曼主演的政治劇情片。推薦觀看《搖尾狗》——同樣是關于政治丑聞與媒體操縱的黑色幽默諷刺電影。
電影《暗潮洶涌》結局是什么?最后誰贏了?
(微劇透)萊恩參議員勇敢反擊,捍衛了自己的權利與尊嚴。影片聚焦性別政治與個人歷史。推薦觀看《斯隆女士》——同樣講述一位女性政治人物在高壓下運用智慧進行絕地反擊的故事。
電影《暗潮洶涌》和《紙牌屋》比哪個更好看?
電影《暗潮洶涌》主要講什么劇情?
講述女參議員萊恩被提名為副總統后,遭政敵挖掘大學黑歷史進行攻擊的政治博弈故事。推薦觀看《真相》——同樣涉及媒體挖掘政治人物過去、引發公眾信任危機的劇情片。
電影《暗潮洶涌》演員陣容強嗎?有加里·奧德曼嗎?
陣容強大,包括加里·奧德曼、杰夫·布里吉斯等多位影帝級演員同臺飆戲。推薦觀看《空軍一號》——同樣是加里·奧德曼出演反派、充滿緊張對峙場面的政治驚悚片。
電影《暗潮洶涌》適合什么樣的人看?
適合喜歡政治權謀、性別議題和演技派群戲的觀眾,影片節奏緊湊、對話犀利。推薦觀看《虐童疑云》——同樣是瓊·艾倫主演、充滿道德張力與表演張力的劇情片。
Putting words like “Nobody wants to shoot the vice president” as a wisecrack in a POTUS-obsessed 6-year-old’s mouth, Rod Lurie’s political drama THE CONTENDER conspicuously tries to salt the story’s central witch-hunt with some levity, but also betrays its manipulative, beggar-belief improbability.
Starting off as a choice treatment on USA’s bipartisan political landscape, THE CONTENDER concentrates on Senator Laine Hanson (Allen), who becomes the current POTUS Jackson Evans (Bridges)’s vice president nominee, a glass-ceiling smashing attempt, mainly to secure his own legacy, as Evans is in the dog-end of his second term. But the catch is, the nomination needs approval from both house of Congress, and Republican Congressman Sheldon Runyon (Oldman), who presides the confirmation hearing, doesn’t see eye to eye with Hanson, mostly because she is a Republican proselytizer, tinged with the usual misogynous undertone that is part of the furniture in every boys’ club.
After unscrupulously burrowing into Hanson’s past, Runyon trades on a salacious scandal Hanson may or may not be involved to discredit her qualifications, which Hanson roundly refuses to comment, because in her belief, it belongs to her own private life, whether to admit or deny it can only substantiate that such insidious behavior can be condoned, rightfully so. But Runyon’s insinuating ploy incites media circus and by clamming up on the issue, Hanson is on the back foot, aggravated by the fact that, when she was romantically involved with his husband William (Thomas), her campaign manager, the latter was still in a wedlock.
Just when the plot suggests that Hanson is out and Evans reluctantly concedes to nominate Governor Jack Hathaway (Petersen, a MANHUNTER reunion with Allen!), the white-bread emblem of a star-spangling hero (or is he?), Lurie’s script has an ace in its sleeve, a game-changer that is fairly unexpected, but also totally illogical (let me put it that way, there is simply too risky a subterfuge for a man of such prominence, it is also extremely implausible the said subterfuge could go misfire like that, why not leave the car door open?). From that moment on, the hitherto nip and tuck bipartisan political intrigue swerves to a patriotic and Democratic party-boasting fanfare, with Bridges assertively holding forth in one of his most spectacular turn, it rings hollower 20 years later, but Bridges is a force to be reckoned, that is for sure, his gourmand president has an unconventional front is both disarming and cunning.
A bellowing, head-corked Sam Elliott as Kermit Newman, White House Chief of Staff proves his bark is worse than his bite, while Petersen’s vile blandness leaving a tangy taste in one’s mouth , but Christian Slater’s up-and-coming democratic Representative is not entirely resonant with the rest of the gamey cast, most extraordinary is Oldman and Allen.
Taking a raw deal, Oldman’s Runyon is a hardened bigot and a sly fox, holding a grudge and vindictive, his blatant antipathy towards Hanson is unearned, the film dodges the issue to show us whether or not Hanson is a worthy candidate (she is pro-choice, politics-savvy, but there is not enough meat here), therefore, Runyon might be right when he reprimands her bluntly that she is not made for the job, Oldman miraculously impersonates him with an obnoxiousness that doesn’t repulse but engages us, Runyon’s complexity is never examined under the spotlight, but through Oldman’s masterful mannerism and effusion, we can glimpse his concealed interiority, a character much more mysterious to pin down than anyone else.
Allen, reaping her third Oscar nomination, is granted a bespoke leading role to shine, and she shines spectacularly, dignified, principled, unflappable in her crusade, putting on a strong face in the face of mounting adversary, only letting on her agony under fine-tuned restraint. Her Hanson is a full-bore perfection, the only quibble is that Lurie’s script festoons her with the projected perfection from a male angle. Were her alleged role in that sexual imbroglio not altered, she would end up being a worthier and more humane heroine (a tack might also solve the problem of her qualifications). But Lurie regrettably panders to a more wholesome image of his democratic presentation with a self-congratulatory finish, eventually THE CONTENDER’s punchy momentum peters out down the homestretch.
referential entries: Mike Nichols’ PRIMARY COLORS (1998. 7.0/10); Jonathan Demme’s THE MANCHURIAN CANDIDATE (2004, 6.1/10).

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