Before the quarter-hour mark in Miss Sloane, I found myself shifting in my seat and sighing deeply.
She pops pills in secret, presumably speed since she never sleeps. Sure, Hollywood movies are stuffed with limp and unnecessary backstories – perhaps Perera should be lauded for creating a figure who never blames a childhood spent in poverty or a brutal professional initiation for her steep career path – but Sloane is so simplistically sketched that her final move just appears implausibly unmotivated; the character is given precisely one line to explain what she has done.
Miss Sloane is a powerfully conceived thriller with something dead at its centre: there is no reason a female protagonist must be good or well-behaved, but she must at least be interesting.
The opening shot of this film shows Elizabeth Sloane (Jessica Chastain) delivering a monologue directly to camera, telling us Lobbying is about foresight and anticipating your opponents moves and devising countermeasures.
Of course, this ice maiden is going to shatter: Sloane is popping too many uppers and creating too many enemies as she climbs. There are many shots (too many) of people turning to one another with expressions of, "Is this lady for real?"
In the high-stakes world of political power-brokers, Elizabeth Sloane is the most sought after and formidable lobbyist in D.C.
Synopsis Sloane takes her entire team with her, sans one—her devoted assistant Jane (Alison Pill) who decides to stay behind—to a rag-tag low-rent lobbying outfit headed up by Rodolfo Schmidt (Mark Strong), devoted to pushing through that controversial gun bill. Thank you for your patience. As the movie business searches about for more female-friendly approaches to storytelling genres traditionally built around male action, it occasionally hits on this imperfect solution, casting a flawed female protagonist or dastardly lady villain in such recent efforts as the revisionist fairy tale Maleficent, the political drama Our Brand Is Crisis or the financial thriller Equity.
Sheila O'Malley received a BFA in Theatre from the University of Rhode Island and a Master's in Acting from the Actors Studio MFA Program. Miss Sloane's political convictions are unknown.
Her friendship with underling Esme Manucharian (an excellent Gugu Mbatha-Raw) has a disturbing power-imbalance from the start.
Her personal life is nonexistent. She will do anything—anything—to win. Elizabeth Sloane (Jessica Chastain) is a cutthroat lobbyist who has been called to appear at a congressional hearing led by Senator Ronald Sperling (John Lithgow) to answer questions about possible violations of Senate ethics rules during her tenure at Washington D.C. lobbying firm Cole Kravitz and Waterman.. Taglines Click here to subscribe. There's a flatline quality to Chastain's voice in this role (not heard in her other performances) that makes the dialogue sound even more over-written; there’s no range, no prosody.
Elizabeth Sloane (Jessica Chastain) is a cutthroat lobbyist who has been called to appear at a congressional hearing led by Senator Ronald Sperling (John Lithgow) to answer questions about possible violations of Senate ethics rules during her tenure at Washington … John Lithgow
What were you like as a child?". It comes across as wanting to be Aaron Sorkin, without his flair for archetypes or percussive dialogue. In the high-stakes world of political power-brokers, Elizabeth Sloane (Jessica Chastain) is the most sought after and formidable lobbyist in D.C.
Jessica Chastain, centre, plays Elizabeth Sloane, a tough-as-nails Washington lobbyist who puts her unethical skills to work for an ethical cause. Welcome to The Globe and Mail’s comment community. Partly because “Miss Sloane” is more a character study than a coherent political drama, it fumbles the issue it purports to address, and it eventually runs aground in a preposterous ending. | Some information in it may no longer be current.
Hollywood knows that women will always pay for their ambition.
While there is a satisfaction in the spectacle of a Lone Wolf outsmarting the fat cats in Washington, and while the character of Miss Sloane is given fascinating and bizarre depths (unexplained for the most part, a welcome change), "Miss Sloane" plays like a naive fantasy (perhaps its release date has something to do with that).
Indeed, she speaks her lines with such an air of removal that she regularly misses the zingers, creating the impression of a woman who is not only emotionally dead but reading from a Teleprompter into the bargain. The dialogue in "Miss Sloane" is stilted in the extreme ("My bank account and liberal conscience won't justify owning a car"), in particular in the group scenes, where the "banter" never lifts off the page. This is a space where subscribers can engage with each other and Globe staff. If you would like to write a letter to the editor, please forward it to firstname.lastname@example.org. Perera's awkward script makes it abundantly clear just how difficult it is to pull off Aaron Sorkin-esque dialogue, the rat-a-tat-tat of "The West Wing" or "The Social Network," featuring people wholly fluent in complex "insider" language. In an appearance that owes a lot to her colleagues in hair, makeup and wardrobe, the beautiful Chastain – the sleek black dresses skimming her figure; the red hair so consistently shading the right side of her face – delivers a performance, rather than a character, that is brittle.
Unfortunately for us as viewers, Miss Sloane goes down that exact path. I was left too shocked and confused about the ending. To say Miss Sloane is a ruthless lobbyist does not even begin to cover it. Non-subscribers can read and sort comments but will not be able to engage with them in any way.
She is the Bobby Fischer of lobbyists, going up against grade-schoolers playing checkers. Whatever the case may be, "lobbyists" are still with us, and who or what they represent is often cloaked in mystery, making them potent fodder for conspiracy theorists and paranoid political thrillers. Welcome to The Globe and Mail’s comment community. It's challenging to write and it's challenging for actors to deliver. When "Miss Sloane" really works is in the scenes when Miss Sloane is by herself (not coincidentally, the scenes with very little dialogue). The action switches back and forth between Senate hearings investigating Miss Sloane's unorthodox and perhaps illegal dealings and the events that led her to that point. Here, in a political thriller written by newcomer Jonathan Perera and directed by veteran John Madden, the effect is so overwrought it's almost laughable.
I googled and yours is the best explanation I’m happy to agree with. Her colleagues are thrown under the bus, used, lied to, betrayed.
as Congressman Ron M. Sperling, Bonded and Unbound: Sean Connery, 1930-2020, Disney+'s The Mandalorian Makes a Valiant Return in Season Two Opener, Amazon's Truth Seekers is Missing Jokes and Scares. If she's a cliché, Perera's plot is at least satisfyingly clever: having laughed in the face of the gun lobby, Sloane is offered a job by a gun-control advocacy group and so puts her unethical skills to work for an ethical cause. Thank you for adding the explanation about the Prairie Madness. At one point, Schmidt—who poached her from her old firm—asks her point-blank: "Were you ever normal? I’m not sure.
Their scenes together are extremely well-played and well-written, pointing out the deficiencies of the script elsewhere. Madden and cinematographer Sebastian Blenkov—fresh off of "Men & Chicken"—do right by their star, lighting her and framing her in the most dramatic way possible, reveling in her coloring, her striking silhouette, getting as close as possible to her to examine the flashes of expression in this strange character's eyes. Jake Lacy, who continues to surprise with his diversity of character roles, is riveting as the only character who treats Miss Sloane like a human being and—in a beautiful irony—one of the only characters in the entire film with a moral compass.
We aim to create a safe and valuable space for discussion and debate. If you are looking to give feedback on our new site, please send it along to, To view this site properly, enable cookies in your browser. Readers can also interact with The Globe on Facebook and Twitter . © Copyright 2020 The Globe and Mail Inc. All rights reserved. Chastain is a pleasure to look at, in her dizzyingly high heels, ice-white skin and bright red lips. I didn’t like the fact that Lizzy killed her husband. And then, at the end of all this, there is a clever surprise, a brilliant twist – or what would be a brilliant twist if Sloane were a recognizable character.
Read our, I'm a print subscriber, link to my account, Avoid the use of toxic and offensive language. The relationship between Miss Sloane and Esme is fascinating: the repeat scenes where they suss each other out and form a wary bond are filled with dramatic tension. Miss Sloane is not that kind of character.
| She is the Keyser Söze of lobbyists. It is revealed she is reciting a mantra to her lawyer. I wasn’t happy how the movie ended. Sloane takes her entire team with her, sans one—her devoted assistant Jane (Alison Pill) who decides to stay behind—to a rag-tag low-rent lobbying outfit headed up by Rodolfo Schmidt (Mark Strong), devoted to pushing through that controversial gun bill.
The film is not so much tone-deaf as old-fashioned, emerging from a more innocent time (say, three weeks ago) when "politics as usual" actually had some meaning. She jokes about trying variations and he tells her its serious and they want her behind bars. Legend has it that the term "lobbyist" originated during the presidency of Ulysses S. Grant, who referred to the petitioners bombarding him with requests for support as "lobbyists" because they always ambushed him while he was trying to relax with a brandy in the lobby of the Willard Hotel in Washington. Played by Jessica Chastain with an icy blast so chilling you half expect her supporting cast to turn up wearing fur, ace lobbyist Elizabeth Sloane is superior, sarcastic and unfeeling – but mainly she's guilty of climbing while female. To say Miss Sloane is a … |
But she wears the character of Miss Sloane like a costume. But when she takes on the most powerful opponent of her career, she finds that winning may come at too high a price. She spends her days spying on her rivals, besting her colleagues and barking at her juniors before shovelling down dinner in a Chinese dive and mounting a male escort in a swank hotel.
Born in 1660, he lived through an age of great scientific, intellectual and artistic expansion.
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