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American security guard Richard Jewell saves thousands of lives from an exploding bomb at the 1996 Olympics, but is vilified by journalists and the press who falsely reported that he was a terrorist 29381 vote Ryan Boz rating 7,6 of 10 Genres Drama

C lint Eastwood ’s latest film is a miscarriage-of-justice tale taken from real life, a parable about the evils of “big government” that plays like a weird mashup of Paul Blart: Mall Cop with a bit of Marty, the 1955 Ernest Borgnine film about a sweet, unattractive guy who lives with his mother. It’s got a couple of great performances – and a lot of ropey acting from actors playing crass and mendacious caricatures. During the 1996 Olympic games in Atlanta, an extreme-right terrorist named Eric Rudolph planted a pipe bomb at the city’s Centennial Park that killed one person and injured many; he was not caught until 2003. The fact that the casualties were not higher is down to the unassuming heroism of one man: private security guard Richard Jewell, a nerdy, overweight guy who lived with his mom, yearned to be a real cop and was an officious stickler for protocol – he spotted the rogue unattended backpack overlooked by those regular cops that Richard idolised, and began to herd the crowds away. But the FBI decided that Richard fitted the profile of a sociopath who deliberately plants bombs to play the hero by finding them. Without hard evidence for an arrest, they leaked their suspicions to the city’s paper, turning up the media heat under Richard, hoping that he would just crack and confess. But, in his bewildered way, Richard stayed strong during his ordeal and the media and the feds wound up being thoroughly shamed. It’s the same narrative template as Eastwood’s Sully: regular guy does something heroic and is then pilloried by legalistic pointy heads, beta males and non-heroes. Vampish … Olivia Wilde as journalist Kathy Scruggs in Richard Jewell. Photograph: Warner Bros This is the fascinating case that screenwriter Billy Ray and Eastwood want to revive for us, and in many ways, it is a very good story, efficiently told – and that’s down to the excellent and very plausible performance from Paul Walter Hauser. He is the heartbreakingly sad guy who is in many ways a de-ironised, de-caricatured version of the criminal conspiracist he played in I, Tonya. Kathy Bates is also quietly outstanding as his long-suffering mother, the Mary to Richard’s overweight, moustachioed, snack-chomping Messiah. Sam Rockwell plays Watson Bryant: the time-honoured role of the cantankerous, shambolic lawyer who takes up the underdog cause. He’s a real figure, too, although many more lawyers worked on this case. Watson is (apparently) something of a maverick with a poster in his office reading, “I fear Government more than I fear terrorism”, although we never hear from Watson whether he precisely believes that, or if this case has changed his mind. In the background of many press conference scenes, incidentally, the confederate flag is unselfconsciously displayed alongside the star-spangled banner. In Georgia in 1996, there was a less of charge attached to this. But there is much silliness in this film. Without any evidence whatsoever – and the film is about the culpability of acting without evidence – the movie asserts that the real-life journalist Kathy Scruggs (vampishly and absurdly played by Olivia Wilde) has sex with sources to get her story. This means sleeping with FBI man Tom Shaw, a fictional composite of the actual officers, and this dull, shrill, square-jawed role points up Jon Hamm ’s weaknesses as an actor. He needs some sympathy and comedy for his handsomeness to work, and it doesn’t work here. As for the real Scruggs, she’s dead and can’t sue. It’s as if Eastwood and Ray can’t just let it go at a press misstep. She has to be slut-shamed as well. But Hauser is the star and he keeps the film on track: poignant, lonely and vulnerable – maintaining the tricky balance of laugh-at and laugh-with. His Jewell is a mysterious figure, the victim-hero who really did save lives but was deprived of his moment of glory and yearned only to be an authority figure, while all around him authority figures were proving themselves to be malign and incompetent. • Richard Jewell is released in the UK on 31 January and in Australia on 13 February.

Critics Consensus Richard Jewell simplifies the real-life events that inspired it -- yet still proves that Clint Eastwood remains a skilled filmmaker of admirable economy. 76% TOMATOMETER Total Count: 266 96% Audience Score Verified Ratings: 6, 114 Richard Jewell Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Richard Jewell Videos Photos Movie Info Directed by Clint Eastwood and based on true events, "Richard Jewell" is a story of what happens when what is reported as fact obscures the truth. "There is a bomb in Centennial Park. You have thirty minutes. " The world is first introduced to Richard Jewell as the security guard who reports finding the device at the 1996 Atlanta bombing-his report making him a hero whose swift actions save countless lives. But within days, the law enforcement wannabe becomes the FBI's number one suspect, vilified by press and public alike, his life ripped apart. Reaching out to independent, anti-establishment attorney Watson Bryant, Jewell staunchly professes his innocence. But Bryant finds he is out of his depth as he fights the combined powers of the FBI, GBI and APD to clear his client's name, while keeping Richard from trusting the very people trying to destroy him. Rating: R (for language including some sexual references, and brief bloody images) Genre: Directed By: Written By: In Theaters: Dec 13, 2019 wide On Disc/Streaming: Mar 3, 2020 Runtime: 129 minutes Studio: Warner Bros. Pictures Cast News & Interviews for Richard Jewell Critic Reviews for Richard Jewell Audience Reviews for Richard Jewell Richard Jewell Quotes Movie & TV guides.

Critic’s pick Clint Eastwood’s take on the frenzied aftermath of the Olympic Park bombing is flawed and fascinating. Credit... Claire Folger/Warner Bros Published Dec. 12, 2019 Updated Dec. 23, 2019 Richard Jewell NYT Critic's Pick Directed by Clint Eastwood Drama R 2h 9m On July 27, 1996, a homemade bomb exploded at Centennial Olympic Park in Atlanta, the host city for that year’s Summer Olympics. Two people died and 100 were hurt in the attack. It was carried out by an anti-abortion militant named Eric Rudolph, though he was not arrested until 2003, after he had bombed two women’s health clinics and a gay bar and spent five years as a fugitive in the woods of Appalachia. Rudolph’s name is mentioned near the end of “Richard Jewell, ” Clint Eastwood’s new film about the aftermath of the Atlanta bombing. The movie, based on a book by Kent Alexander and Kevin Salwen, “The Suspect, ” and a Vanity Fair article by Marie Brenner, isn’t about the bomber, but rather about the security guard who found a backpack full of explosives and shrapnel under a bench and sounded the alarm. Nonetheless, the specter of domestic right-wing terrorism haunts the movie, an unseen and unnamed evil tearing at the bright fabric of American optimism. Eastwood, in nearly half a century as a major filmmaker and even longer as an axiom of popular culture, has chronicled the fraying of that cloth, and also plucked at a thread or two. “Richard Jewell, ” with a screenplay by Billy Ray, is one of his more obviously political films, though not always in obvious ways. In spite of some efforts to interpret it as a veiled pro-Trump polemic, the film doesn’t track neatly with our current ideological agitations. The political fractures Eastwood exposes are more elemental than even the most ferocious partisanship. This is a morality tale — in a good way, mostly — about the vulnerability of the individual citizen in the face of state power and about the fate of a private person menaced by the machinery of publicity. Though he acts bravely and responsibly at a moment of crisis, Jewell (Paul Walter Hauser) isn’t entirely a hero, and “Richard Jewell” doesn’t quite belong in the gallery with “Sully” and “American Sniper, ” Eastwood’s other recent portraits of exceptional Americans in trying circumstances. As in “15:17 to Paris” and “The Mule, ” he’s more interested here in exploring what happens to an ordinary man under extreme pressure. He also wants to show how a regular guy’s idiosyncrasies can seem like either warning signs or virtues, depending on who’s looking. We first meet Jewell about 10 years before the bombing, in a local office of the Small Business Administration, pushing a cart full of office supplies. That’s where he meets Watson Bryant (Sam Rockwell), an irascible lawyer who will become his champion later on. Jewell is polite, hard-working and prone to surprising, unsolicited acts of generosity. He keeps Bryant’s desk drawer stocked with Snickers bars. At Centennial Olympic Park in 1996, he hands out soft drinks to co-workers, police officers and other thirsty people. There might be something a little peculiar about him. Eastwood, Ray and Hauser (who is nothing short of brilliant) cleverly invite the audience to judge Jewell the way his tormentors eventually will: on the basis of prejudices we might not even admit to ourselves. He’s overweight. He lives with his mother, Bobi (Kathy Bates). He has a habit of taking things too seriously — like his job as a campus police officer at a small liberal-arts college — and of trying a little too hard to fit in. He treats members of the Atlanta Police Department and the F. B. I. like his professional peers, and seems blind to their condescension. “I’m law enforcement too” he says to the agents who are investigating him as a potential terrorist, with an earnestness that is both comical and pathetic. Most movies, if they bothered with someone like Jewell at all, would make fun of him or relegate him to a sidekick role. Eastwood, instead, makes the radical decision to respect him as he is, and to show how easily both his everyday shortcomings and his honesty and decency are distorted and exploited by the predators who descend on him at what should be his moment of glory. The main heavies are Tom Shaw, a stone-faced F. man played by Jon Hamm, and Kathy Scruggs, a reporter for the Atlanta Journal-Constitution. It’s her reporting that sets off a feeding frenzy in the newspapers and on the airwaves, including a painful moment when Bobi sees her beloved Tom Brokaw saying terrible things about her son. That is real footage. Scruggs, played by Olivia Wilde, was a real person (she died in 2001). Tom Shaw was not — the F. agents have been renamed in the movie — and the implication that Scruggs had sex with him in exchange for information about the bombing case has no apparent basis in reality. The Atlanta Journal-Constitution has threatened legal action against Warner Bros. for the way its journalists, Scruggs in particular, are portrayed in the film, and the studio has pushed back. On strictly dramatic grounds, the character is, at best, a collection of lazy, sexist screenwriting clichés. That isn’t so unusual in Hollywood, but what’s worse is that Eastwood and Ray subject Scruggs — depicted as a newsroom mean girl with nothing but scorn for her female colleagues — to a type of profiling analogous to what Jewel endured. Assuming that an ambitious woman journalist must be sleeping with her sources isn’t all that different from assuming that a fat man who lives with his mother must have planted a bomb. In that respect, then, “Richard Jewell” undermines its own argument. But it happens to be a pretty strong argument, and one that takes Eastwood in some surprising directions. I would not have expected to see a heartfelt defense of Miranda rights in a movie directed by the former Dirty Harry, or a critique of F. overreach from the maker of a sympathetic J. Edgar Hoover biopic. I don’t think this is simply a matter of adapting to the political winds of the moment, now that distrust of the F. I., long a staple of the left, seems to have shifted rightward. Eastwood has always had a stubborn libertarian streak, and a fascination with law enforcement that, like Jewell’s, is shadowed by ambivalence and outright disillusionment. The shadows are what linger from this flawed, fascinating movie. As usual with Eastwood, it is shot (by Yves Bélanger) and edited (by Joel Cox) in a clean, blunt, matter-of-fact style. The story moves in a straight line, gathering momentum and suspense even as it lingers over odd, everyday moments. It doesn’t feel especially complicated or textured until it’s almost finished: Like Jewell himself, you may struggle to comprehend the implications of what is happening, and to grasp the stakes. “Richard Jewell” is a rebuke to institutional arrogance and a defense of individual dignity, sometimes clumsy in its finger-pointing but mostly shrewd and sensitive in its effort to understand its protagonist and what happened to him. The political implications of his ordeal are interesting to contemplate, but its essential nature is clear enough. He was bullied. Richard Jewell Rated R. Terrorist violence and state power. Running time: 2 hours 9 minutes.

O caso richard jewell watch free watch. O caso richard jewell watch free full. There was a problem filtering reviews right now. Please try again later. Reviewed in the United States on December 18, 2019 Format: DVD This film is based on the story of Richard Jewell, a security guard at the Centennial Olympic Park who during a concert discovered a suspicious bag with a bomb, which resulted in an evacuation. Though it wasn't completed before the bomb blew, the evacuation at least lessened the number of casualties. Unfortunately for Jewell, he fit the criminal profile. The FBI initially tried to trick him when being interviewed and their suspicions were leaked to the press, which caused him to be blamed by the media though there were no charges. The film follows Jewell's sad tale and how he and his lawyer fought it. This was a really well made film. This is a gripping, well-written tale. This is largely a film about dealing with the law and media, which has a lot of scenes of just talking, plus it runs at two hours and eleven minutes. Yet, the movie never feels slow. The setup to the finding of the bomb is just excellently paced and leaves you hooked. The dialogue is really good; for a movie about a serious subject it lightens the film with a little bit of dry humor. Casting is really good in this. The main triumvirate of Paul Walter Hauser as Jewell, Kathy Bates as his mother, and Sam Rockwell as his lawyer all work so well together. Now, I know a lot of critics have already mentioned this, but it's difficult not to address. The reporter Kathy Scruggs (Olivia Wilde), who first reported on Jewell is portrayed as super insensitive and obsessed with success over anything and everything else. From what I've read, the late Scruggs' colleagues disagree with her portrayal. It's a little uncomfortable that a film about the dangers of the media being used to vilify someone, is itself doing the same thing. (To her credit, Wilde does a good job selling the role she is given. ) The Scruggs thing aside, I highly recommend this. It's especially impressive considering that director Clint Eastwood is 89. The movie hasn't been doing great in the box office right now and that is a shame. Reviewed in the United States on March 4, 2020 Format: Prime Video Verified Purchase This movie had me in tears early. Especially when I recalled that every year until Richard died, that he left a rose I believe, in Centennial Park on the spot where Alice Hawthorne had died and on the anniversary. That was the real Richard Jewell. I think if I had been Eastwood, I would've added that as the ending somehow versus what struck me as being an unfinished ending that was somewhat awkward. The actor who portrayed Jewell was a physical dead ringer even if he underplayed him as a bit too bungling or too much of a momma's boy or pawn. He was those things but much more as a human. Better had Victor Hugo directed I think. If one watches the famed 60 Minutes interviews with Jewell, and others, he had a strength to himself, and a confidence that I'm not sure the actor brought to the role but within the film context, can see why they were following to show a man being used by the system he idolized and wished to be more part of. I personally think the irony of Jewell's lawman vision of himself was that it was truer to old world values and lawman actions that police were permitted to be in his own lifetime. And far less dubious that those afforded to The FBI. Mr. Jewell also had 2 definitive lawyers and not sure why he's only shown with the early friend, Bryant and not the later Lin Wood who was a force to be reckoned with. If I had my druthers, I'd loved to have seen Eastwood tackle their retribution hours against the media and subsequent retractions and payouts. Actor Sam Rockwell was a decent version of Watson Bryant and brought some comic relief that worked well in his interactions with the press and Jewell. All in all Eastwood was faithful but it was one of those films that one wished had a larger budget to really bring the depth to the story that this budget could not. But its an outsider film and think Eastwood, and DiCaprio surprisingly, felt was historically important. For what reasons you'd have to ask them obviously. But I presume Eastwood either consciously or unconsciously understood that the bombing was a signaling event much like an ocean earthquake can be to a tsunami. It showed the growing influence of the shadow government, foreshadowing events like 9/11 and media as a player or an arm of such players with an agenda to dismantle individual freedoms. To make Americans "suspects" for being nothing more than being patriotic. Jewell was an unwitting victim of these hours. But also a heroic American who through his honesty, his beliefs in right and wrong, and with the help of some similar in mind, became an unexpected cog in their plans. A sort of natural force of its own right, exposing the corruption like light to darkeness. Thank God for that and thank God for Eastwood and this film. Reviewed in the United States on March 4, 2020 Format: Prime Video Verified Purchase We see how time and time again law enforcement can be overzealous in trying to blame people for a crime they didn't commit and without even having proper evidence. As a result, it devastates peoples' lives forever. I am thrilled that Clint Eastwood made this movie because it gets a message out to the world that Richard Jewell is a hero who saved many people's lives. It is also a shame that Richard Jewell passed so early in his life. Rest in Peace Hero. Reviewed in the United States on March 3, 2020 Format: Prime Video Verified Purchase Great movie! Just another person trying to do the right thing and gets punished for it. Reviewed in the United States on March 6, 2020 Format: Prime Video Verified Purchase The only part of the movie that didn't ring true was the remorse shown by the reporter. Everything else felt authentic and gives you a sense of what it like to be on the other side of the camera when they need to forge a narrative. Reviewed in the United States on December 24, 2019 Format: DVD Well developed characters. You forget that they are actors... it seems so real and sad at the same time. Reviewed in the United States on March 7, 2020 Format: Prime Video Verified Purchase I liked how it challenged the media’s responsibility to make sure it has facts.

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