STATE OF PLAY

With their intense visual appeal, television police dramas usually transition well to the big screen, evidenced by films such as “S.W.A.T.” and “Mission: Impossible.” But director Kevin Macdonald’s “State of Play” is just as disappointing as “Miami Vice” in its attempt to capitalize on an existing audience.

      The film is a suspenseful mystery-thriller based on an award-winning U.K. television series of the same name. Filmmakers should have split the television material into a series of films rather than suffocating viewers with too many plot twists and attempting to fit them all into one movie. Despite its all-star cast and intriguing themes of corruption, “State of Play” fails as a film because its intricate plot leaves no room for character development.

       The protagonist Cal McAffrey (Russell Crowe) is a valued journalist for the Washington Globe newspaper who goes beyond the limits of a reporter in investigating stories. To get the truth, he abuses his friendships with cops, autopsy specialists, computer hackers and even government workers.

       When the death of Sonia Baker (Maria Thayer) is linked to Congressman Stephen Collins (Ben Affleck), Cal struggles to put his friendship with Stephen aside. In an effort to shift the investigation’s focus off Stephen, Cal and rookie reporter Della Frye (Rachel McAdams) search desperately for clues to connect Sonia’s death to a corporate cover-up. The Washington Globe takes matters into its own hands as the story turns into a political murder investigation. Cal and Della conduct their own investigation, keeping vital evidence from police officials. This poses numerous ethical questions for audiences to ponder.

       The film spotlights the severity to which the media controls the lives of all characters involved in the case. In his relentless pursuit of the story, Cal gives public officials an ultimatum — either help the newspaper get the facts or risk having their reputations ruined through headlines. But the story itself isn’t nearly as interesting as the dilemmas it raises about the media’s powerful role in society.

       Writers Matthew Michael Carnahan, Tony Gilroy and Billy Ray should have spent more time on character development and less time trying to include every plot-changing twist from the television series. “State of Play” worked as a television show because it was an abundance of material delivered in a six-hour television miniseries rather than a two-hour film. A story about reputation, ethics and betrayal should encourage the audience to take a sincere interest in the characters’ lives.

       The absence of that focus in “State of Play” was detrimental to its success. The audience doesn’t see the characters’ flaws but only hears about them in scenes where the characters sit around a table and talk about the past, preventing viewers from connecting with the characters. News of Cal’s recent affair with his college roommate’s wife, Anne Collins (Robin Wright Penn), comes through conversation rather than actions. Getting to know these complex characters through word vomit feels unnatural and cheap. The plot isn’t character driven, but it should have been. The climax of the film could have felt enormously more life-shattering to viewers if they had the opportunity to feel invested in the story.  

       The film’s inability to connect to its audience was no fault of the actors. Crowe never fails to deliver an admirable performance and does so yet again in the role of an arrogant, rebellious journalist. McAdams fits in comfortably as the inexperienced but ambitious political blogger for the Washington Globe. The duo’s on-screen relationship progresses naturally as the two are forced to rely on and confide in each other. What begins as strictly business develops into a flirtatious friendship. Affleck fits the part of the young and influential public official but sometimes appears overdramatic and slightly rehearsed in his portrayal of Stephen’s grief.

       The surprise ending feels more like a trick because the most important clue to the mystery isn’t the least bit obvious for the viewer to catch. This failed film serves as an example of one police television show that just doesn’t translate to the big screen. A series of films would have been better able to do justice to such a large amount of story.

“State of Play” was written by Matthew Michael Carnahan, Tony Gilroy and Billy Ray, and directed by Kevin Macdonald.