All the negative reviews are mad at Clint Eastwood for portraying the media and one female reporter as being villains, and are blaming... get ready for this... Donald Trump and his supporters, somehow... The news-story here is about the 1996 Georgia Olympics bombing, when Trump was a New York City tycoon who the same pseudo-intellectuals that want his blood really admired... for all the money he donated to their causes... again and again... It must also be noted that anything produced by Leonardo "My car's electric unlike my super-yacht" DiCaprio (who almost co-starred) would be conservative, and it's crazy this is considered right wing, especially given the fact that every single political thriller since the 1960's have been catered to registered democrats, and most of these movies portray the FBI in a far crummier light than is displayed here...

Well here's something completely different: a negative review of Richard Jewell from someone who's not blaming Donald Trump: It's extremely dull and hardly covers the title character... a pathetic Paul Blartish security guard/cop wannabe blamed for the bombing... as having gone through a nightmare after being treated like a hero for spotting the explosive, and saving lives, because there's hardly any coverage of the good times when the media supposedly praised him... As for acting, the titular lead is very dull, yet even the negative reviewers are giving him singled-out props while Sam Rockwell goes through the motions as an underdog lawyer fighting the powers that be... Powers that really have no weight or significance here, fueled by a villainous female journalist who supposedly slept with an FBI agent for her big scoop... But when the reporter is portrayed as a cheap drunken skank from the get-go, and the agent is square-jawed Don Draper himself, it seems like just another sexual conquest for a really good looking guy (and Olivia Wilde is somehow made to look average here)...

In a nutshell, Richard Jewell doesn't pay favors to anyone: He and his mom (Kathy Bates) are as cookie-cutter cliche in their banal country-music-loving simplicity as the FBI and media are in their supposed pigheaded prowess, and, perhaps the mundane by-the-book approach in Eastwood's subtle (albeit lifeless) direction is purposeful... But for a supposedly suspenseful expose, there aren't any real thrills here, or twists, or turns, or urgency to matter beyond what feels more like a rehearsal/table-read than a motion picture. Rating: **

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