There are not too many solid Newspaper stories which ever make it to the silver Screen. Occasionally one does comes along and if it's message is important with respect towards the audience, it deserves attention. Such a movie is, " The Paper ". The star of the movie is Michael Keaton who plays Henry Hackett a city editor who's boss is Bernie White played by noted actor Robert Duvall. Jason Robards is the Publisher, Graham Keighley. Their newspaper is about to print a story about a local derailment, when a small item arrest in Williamsburg NY, inspires Hackett to risk his position and a promotion with 'The Sentinal'' a prestigious uptown Newspaper. There are a number of hurtles to following up on the Williamsburg murder of three prominent bankers who lost several million dollars of the Mafia's money, primary of which is Alicia Clark (Glenn Close) an envious supervisor who is more interested in saving money than the reputations of two black youths. She explains that without more information on the dead men, additional corroboration or a quote by the tight-lipped police, she is running the subway derailment story. Confident he is right, Hackett pulls out all the stops to beat a four hour deadline, attend his wife's (Marisa Tomei) social life, protect his top reporter (Randy Quaid) from a gun-toting parking official (Jason Alexander) and file the story by press time. The movie possess all the exciting impetus of a modern front page story including the daily problems confronting the staff and the personal lives of all concern. The film is powerful in it's direction and will in time be seen as a Journalistic Classic. Easilly recommended for all. ****
87 Reviews
Typically Good Ron Howard
gbheron1 April 2000
Ron Howard has assembled an all-star, A-list cast to dramatize a day in the life of a New York City tabloid. And they do a great job of it. Ron Howard is not a director to choose the "edgy" themes, and The Paper is no exception. The main plot focuses on the decision of whether or not to publish a sensational story that the editors and writers suspect is false, but will nonetheless sell lots of papers. This thread is supported by a variety of minor, intertwining stories that weave in and out of the main tale. It's very enjoyable stuff, part drama and part comedy. Ron Howard has made a movie that is just right for that weekend rental for the family.
A Slick but Superficial Comedy Drama with an Impressive All-Star Cast
Isaac58558 June 2007
THE PAPER was a glossy but substance-challenged comedy drama that is supposed to provide an incisive look into the daily running of a large metropolitan newspaper. Michael Keaton stars as Henry Hackett, a maverick reporter trying to get the facts accurate on the biggest story of the decade while simultaneously chasing down a better job at another paper. The impressive supporting cast includes Glenn Close, Robert Duvall, Marisa Tomei, Randy Quaid, Jason Alexander, Catherine O'Hara, Spalding Gray, Lynne Thigpen, and a classy cameo by Jason Robards as the paper's publisher. No, there's not a lot going on here, but the all-star cast makes it worth a peek.
A 90s Sleeper: intelligent humor, A-list cast, don't miss it
windsong35328 April 2009
I loved this movie...a real 90s sleeper. It's hard to determine why some films don't get the attention they deserve. The Paper is delightfully acted by an A-list ensemble in their prime. It's hilariously funny, with great timing and pace, and some poignant overtones on commitment, loyalty, family, friendship, work and the workplace, and big city journalism.
Feel-good and sardonic at the same time, I did NOT find it completely predictable. The screenplay is terrific, with thoughtful, intelligent, brisk dialog. Not a dull moment; completely entertaining. A film for "grown-ups". More kudos to Ron Howard.
Renting it just to watch the superb Glen Close's character, especially in the "stop the presses" scene, is worth the time/money alone. A charming Marisa Tomei perfectly cast. Robert Duvall, Jason Alexander, Jason Robards, and of course Michael Keaton...what's not to like? One of those films that can be watched many times by men and women alike. Highly recommended.
Feel-good and sardonic at the same time, I did NOT find it completely predictable. The screenplay is terrific, with thoughtful, intelligent, brisk dialog. Not a dull moment; completely entertaining. A film for "grown-ups". More kudos to Ron Howard.
Renting it just to watch the superb Glen Close's character, especially in the "stop the presses" scene, is worth the time/money alone. A charming Marisa Tomei perfectly cast. Robert Duvall, Jason Alexander, Jason Robards, and of course Michael Keaton...what's not to like? One of those films that can be watched many times by men and women alike. Highly recommended.
A charming comedy with a great story and some very funny characters
stefan-reindl18 January 2006
The Paper is a wonderful story about Henry Hackett, a workaholic editor for a small-time New York newspaper. Henry's wife, who used to work for the same paper, is very pregnant. Problems arise when Henry's work and home life begin to conflict with each other as he chases the truth to a racial shooting and races against the looming deadline. More pressure is put on Henry as his wife questions how much he loves her and when he is offered a high-paying job at a big-time paper in town.
The Paper is a perfect example of Ron Howard's style of directing a comedy. Viewers will notice many parallels with Howard's more famous comedy, Parenthood. The story is based on Henry, and we do have some insight into what the other characters around him are like, but not too much is revealed about their lives beyond work. The story progresses quickly and fluidly. Howard is a master at creating films that work.
Michael Keaton is pretty much perfect in the role of Henry. He oozes talent and intelligence yet also gives off an aura of impatience and nervousness. Robert Duvall is also well cast in the role of the sickly newspaper patriarch who gave his life to his career and is now very ill. Although The Paper relies largely on its all-star cast (Michael Keaton, Robert Duvall, Glenn Close, Marisa Tomei, and Randy Quaid), the result is not disappointing. Some of the most funny moments in this film are when most (or all) of these characters are in the same room together.
The Paper covers a very broad range of comedic styles. Everything from low-brow jokes and physical slap-stick comedy to the intelligent remarks that will take you a second to figure out are represented here. In this way, The Paper is almost guaranteed to make you laugh, no matter your preference of style. It's a charming comedy with a great story and some very funny characters. Highly recommended.
The Paper is a perfect example of Ron Howard's style of directing a comedy. Viewers will notice many parallels with Howard's more famous comedy, Parenthood. The story is based on Henry, and we do have some insight into what the other characters around him are like, but not too much is revealed about their lives beyond work. The story progresses quickly and fluidly. Howard is a master at creating films that work.
Michael Keaton is pretty much perfect in the role of Henry. He oozes talent and intelligence yet also gives off an aura of impatience and nervousness. Robert Duvall is also well cast in the role of the sickly newspaper patriarch who gave his life to his career and is now very ill. Although The Paper relies largely on its all-star cast (Michael Keaton, Robert Duvall, Glenn Close, Marisa Tomei, and Randy Quaid), the result is not disappointing. Some of the most funny moments in this film are when most (or all) of these characters are in the same room together.
The Paper covers a very broad range of comedic styles. Everything from low-brow jokes and physical slap-stick comedy to the intelligent remarks that will take you a second to figure out are represented here. In this way, The Paper is almost guaranteed to make you laugh, no matter your preference of style. It's a charming comedy with a great story and some very funny characters. Highly recommended.
stop/start the presses
lee_eisenberg31 August 2006
"The Paper" does seem slightly more serious and less sentimental than most of Ron Howard's movies. Focusing on an overworked reporter (Michael Keaton) getting torn between a big story and his wife (Marisa Tomei), it's worth seeing. I wonder how many movies there can be about someone getting between his family and his job, but combining that with something about the media - specifically a newspaper - makes it a little bit more interesting. In my opinion, the most interesting character was Glenn Close's incarnation of the bitchy executive (there always has to be one of those, doesn't there?) preferring to stick with policy rather than investigate the story seriously; you're not sure whether she makes your skin crawl or whether she's kinda likable.
So, this isn't the greatest movie ever - certainly not the best movie focusing on the media - but worth seeing as a look into situations slowly but surely spinning out of control. Also starring Robert Duvall, Randy Quaid, Jason Alexander and Clint Howard.
So, this isn't the greatest movie ever - certainly not the best movie focusing on the media - but worth seeing as a look into situations slowly but surely spinning out of control. Also starring Robert Duvall, Randy Quaid, Jason Alexander and Clint Howard.
Refreshingly different!!
PapaSkiBear13 January 2018
In typical Ron Howard style; genius, The Paper is fun, witty, with enough tension to keep it interesting; intriguing! Little different framework from other Ron Howard classics, but is equally as entertaining. If your looking for "The Post" or "All The Presidents Men" suspense, thrills and chills, don't. This movie is an entirely different film thankfully! No mistake, the others are or will be long time classic treasures! Love them both! This ride is fun, enjoyable; funny!
PapaSkiBear Hangtown Ca.
PapaSkiBear Hangtown Ca.
Very good, could have been great.
jfb33328 March 2021
Warning: Spoilers
This film was like watching Babe Ruth take a mighty swing at a fastball and hit a towering.fly ball that's caught on the warning track. A miss by a fraction of an inch.
An A-List cast and a great premise are not given a chance to reach their full potential. If just some of the screen time devoted to the over-amped frenetic lives of the journalists were redirected to getting to know the two innocent youths in jail for murder (and their families) this could have been Best Picture timber. Just one scene of the prosecutor offering the two kids twenty-five to life for a plea that will keep them off death row could have raised the stakes to "all in" and clarified to the audience exactly what's on the table here.
Although I did find this film thoroughly enjoyable (for the most part) I kept wondering what might have been.
An A-List cast and a great premise are not given a chance to reach their full potential. If just some of the screen time devoted to the over-amped frenetic lives of the journalists were redirected to getting to know the two innocent youths in jail for murder (and their families) this could have been Best Picture timber. Just one scene of the prosecutor offering the two kids twenty-five to life for a plea that will keep them off death row could have raised the stakes to "all in" and clarified to the audience exactly what's on the table here.
Although I did find this film thoroughly enjoyable (for the most part) I kept wondering what might have been.
Why can't I stop watching this?
stevendocherty3 August 2007
I usually find Ron Howard's work a tad self-indulgent - you only have to watch Apollo 13 to know what I mean. However, with this, Ron really delivers a fully watchable film.
There are classic comedy moments - the Glenn Close "I light a cigarette..." line is just brilliant - while also providing true pathos with an excellent performance from Marissa Tomei (a disappointingly under-rated actress in anything she is in - witness her performance in Mel Gibson's otherwise rubbish "Whast Women Want").
I saw this in the cinema, and own it on DVD - it features in my regular rotation, and it doesn't matter how many times I watch it, it is still good viewing. A sign of a classic film is how often one can view it without finding scope for criticism - nothing yet!
There are classic comedy moments - the Glenn Close "I light a cigarette..." line is just brilliant - while also providing true pathos with an excellent performance from Marissa Tomei (a disappointingly under-rated actress in anything she is in - witness her performance in Mel Gibson's otherwise rubbish "Whast Women Want").
I saw this in the cinema, and own it on DVD - it features in my regular rotation, and it doesn't matter how many times I watch it, it is still good viewing. A sign of a classic film is how often one can view it without finding scope for criticism - nothing yet!
Simple, A pretty good movie with many stars.
jake14rh4 February 2001
It's a simple, decent movie. 7 out of 10.
Don't expect too much just because of all of the very good actors in the movie. It's a simple story about a power struggle at a newspaper, between one side trying to get the story right, and the other just trying to do their jobs.
This movie could have been alot better. The general storyline is good, but not much was done with it. The middle does drag a little bit, and not much drama is introduced until a very good sequence at the end.
The performances were very good but the script was so-so.
Don't expect too much just because of all of the very good actors in the movie. It's a simple story about a power struggle at a newspaper, between one side trying to get the story right, and the other just trying to do their jobs.
This movie could have been alot better. The general storyline is good, but not much was done with it. The middle does drag a little bit, and not much drama is introduced until a very good sequence at the end.
The performances were very good but the script was so-so.
Candy Floss
JamesHitchcock10 October 2005
The film tells the story of a single day in the life of "The Sun", not the British tabloid famous for its Page Three Girls, but a struggling New York newspaper. The main character is the editor Henry Hackett. He is a workaholic who enjoys his high-pressure, high-powered job, but has been offered another position with the "New York Sentinel", a prestigious broadsheet. Although he fears that he will find this largely administrative post less fulfilling, he is being pressured to accept it by his pregnant wife Martha because it will involve shorter hours and higher pay. Among the other characters are Bernie, the hard-bitten hard-drinking publisher, Alicia the bitchy, unsympathetic managing editor and McDougal, the paper's star reporter who has been running a campaign to discredit the city's parking supervisor.
The main drama centres on the murder of two white businessmen in a predominantly black area of the city. This is initially assumed to be a racially motivated killing, an assumption shared by most of the press, and two black youths are taken into custody by the police. Hackett, however, has a hunch that the two are innocent and that the killings are in fact linked to organised crime. When, late in the day, he finds a policeman who confirms his suspicions he is presented with a dilemma. Under pressure from Alicia he has agreed to lead the next day's edition with a picture of the two men being taken into custody and the headline "Gotcha!" (once famously used by the British "Sun" in a different context) which will imply the men's guilt. Although the edition has already gone to press, Henry wants to stop the presses and use the same photograph but with a different headline emphasising their innocence. Alicia, however, puts financial considerations before journalistic accuracy and is reluctant to stop the print run because of the extra costs involved.
The film could have been made in one of two ways, either as a satirical comedy about the press or as a serious drama about journalistic ethics. Unfortunately, it does not fall into either of these categories but rather falls somewhere between the two. The overall tone is too light for a serious drama, and some scenes verge on the farcical. I am thinking particularly of the one where Henry and Alicia have a stand-up fist fight while he tries to turn the printing press off and she tries to stop him. I have never been Michael Keaton's greatest admirer, with his rather frenetic style of acting (or overacting), but if the film had been made as a pure comedy he might have worked well as the frantically overactive Henry. He did not, however, seem convincing in his attempts to make Henry into a crusader for truth and integrity. The scriptwriter must also bear some of the blame for this; it is hard to regard as a paragon of virtue a journalist who steals a story from a rival editor's desk while being interviewed for a job. The best acting performance was probably from Glenn Close as Alicia, but even she was something of a comic villain- the Cruella de Vil of the newspaper industry- rather than a rounded character.
On the other hand, the film is insufficiently biting and cynical and too sentimental to work as satire. It has been said of this film that even when Ron Howard tries to make a semi-serious film he ends up reducing it to cotton candy. To be fair to Howard, he has made some reasonably good films since 1994 on serious themes, such as "Apollo 13" or "A Beautiful Mind", but with regard to "The Paper" this comment seems spot-on. It is neither a drama, nor a comedy, simply candy floss. 4/10.
The main drama centres on the murder of two white businessmen in a predominantly black area of the city. This is initially assumed to be a racially motivated killing, an assumption shared by most of the press, and two black youths are taken into custody by the police. Hackett, however, has a hunch that the two are innocent and that the killings are in fact linked to organised crime. When, late in the day, he finds a policeman who confirms his suspicions he is presented with a dilemma. Under pressure from Alicia he has agreed to lead the next day's edition with a picture of the two men being taken into custody and the headline "Gotcha!" (once famously used by the British "Sun" in a different context) which will imply the men's guilt. Although the edition has already gone to press, Henry wants to stop the presses and use the same photograph but with a different headline emphasising their innocence. Alicia, however, puts financial considerations before journalistic accuracy and is reluctant to stop the print run because of the extra costs involved.
The film could have been made in one of two ways, either as a satirical comedy about the press or as a serious drama about journalistic ethics. Unfortunately, it does not fall into either of these categories but rather falls somewhere between the two. The overall tone is too light for a serious drama, and some scenes verge on the farcical. I am thinking particularly of the one where Henry and Alicia have a stand-up fist fight while he tries to turn the printing press off and she tries to stop him. I have never been Michael Keaton's greatest admirer, with his rather frenetic style of acting (or overacting), but if the film had been made as a pure comedy he might have worked well as the frantically overactive Henry. He did not, however, seem convincing in his attempts to make Henry into a crusader for truth and integrity. The scriptwriter must also bear some of the blame for this; it is hard to regard as a paragon of virtue a journalist who steals a story from a rival editor's desk while being interviewed for a job. The best acting performance was probably from Glenn Close as Alicia, but even she was something of a comic villain- the Cruella de Vil of the newspaper industry- rather than a rounded character.
On the other hand, the film is insufficiently biting and cynical and too sentimental to work as satire. It has been said of this film that even when Ron Howard tries to make a semi-serious film he ends up reducing it to cotton candy. To be fair to Howard, he has made some reasonably good films since 1994 on serious themes, such as "Apollo 13" or "A Beautiful Mind", but with regard to "The Paper" this comment seems spot-on. It is neither a drama, nor a comedy, simply candy floss. 4/10.
The Paper Delivers!
ReelCheese15 November 2006
A funny, fast-paced and fascinating film, THE PAPER delivers. Michael Keaton is remarkable as Henry Hackett, a newspaper editor torn between the two loves of his life: his exhausting job and his long-suffering (and pregnant) wife. This juggling act plays itself out during one particularly frenzied day in which Hackett must weigh a better job offer while trying to outscoop his deep-pocketed competitors on a murder story.
It's a cliché to say so, but there's never a dull moment in THE PAPER. The multi-faceted storyline sucks the viewer in and doesn't let go until after the exciting, root-on-the-good-guys finale. An interesting film could have been made about any one of the angles explored here, be it the incredibly hectic behind-the-scenes workings of a major daily, the personal toll such an operation takes on its employees, or the media's tendency to oversimplify. To combine these into one film results in an infinitely mesmerizing piece of work. And let's not forget Ron Howard's direction, which is smooth and virtually flawless. The writing is equally brilliant. Whatever reaction the film tries to inflict -- laughter, excitement, surprise -- it inevitably succeeds.
The performances in THE PAPER deserve special mention. Everyone is so well cast that it's impossible to picture anyone else in these roles. Keaton has never been better in a starring role that is tailor-made to his comedic and dramatic abilities. Robert Duvall is on top of his game as the publisher whose job has cost him so much in other areas of his life. Marisa Tomei, as Mrs. Hackett, proves MY COUSIN VINNY was no fluke. (The scene where she glares at her husband in disbelief as he tells her he has to miss an important dinner with her parents is absolutely priceless). Randy Quaid is as quirky as can be as the paper's resident columnist. And although his appearances are brief, the late Spalding Gray is unforgettable as the head of a rival paper. This group of actors may very well comprise one of the most talented ensembles of the 1990s.
It's a shame THE PAPER has never received the attention it deserved. Had it been released 50 years ago, in a less cluttered era, it would most certainly be widely hailed as a classic today.
It's a cliché to say so, but there's never a dull moment in THE PAPER. The multi-faceted storyline sucks the viewer in and doesn't let go until after the exciting, root-on-the-good-guys finale. An interesting film could have been made about any one of the angles explored here, be it the incredibly hectic behind-the-scenes workings of a major daily, the personal toll such an operation takes on its employees, or the media's tendency to oversimplify. To combine these into one film results in an infinitely mesmerizing piece of work. And let's not forget Ron Howard's direction, which is smooth and virtually flawless. The writing is equally brilliant. Whatever reaction the film tries to inflict -- laughter, excitement, surprise -- it inevitably succeeds.
The performances in THE PAPER deserve special mention. Everyone is so well cast that it's impossible to picture anyone else in these roles. Keaton has never been better in a starring role that is tailor-made to his comedic and dramatic abilities. Robert Duvall is on top of his game as the publisher whose job has cost him so much in other areas of his life. Marisa Tomei, as Mrs. Hackett, proves MY COUSIN VINNY was no fluke. (The scene where she glares at her husband in disbelief as he tells her he has to miss an important dinner with her parents is absolutely priceless). Randy Quaid is as quirky as can be as the paper's resident columnist. And although his appearances are brief, the late Spalding Gray is unforgettable as the head of a rival paper. This group of actors may very well comprise one of the most talented ensembles of the 1990s.
It's a shame THE PAPER has never received the attention it deserved. Had it been released 50 years ago, in a less cluttered era, it would most certainly be widely hailed as a classic today.
THE PAPER : A Nice Companion To PARENTHOOD, Though Not Quite As Good...
cwrdlylyn10 January 2006
THE PAPER
This is the kind of Ron Howard film I enjoy... and I hope he goes back to films like THE PAPER sometime soon.
I found a brand new VHS of this film in my mall for $2 and, knowing how much I loved Ron Howard's PARENTHOOD, I figured I'd give the movie a shot. After all, it's cheaper then renting it would have been.
THE PAPER is no where near as good as PARENTHOOD (Ron Howard's true masterpiece IMO)... but, it is a fun/lightweight film in the same vein. It follows a similar formula by taking one central character, in this case Michael Keaton, and following the busy lives of the many people around him.
THE PAPER offers up an incredible ensemble of actors. Even the smaller roles utilize genuinely talented actors, for example, a woman as amazingly talented as Catherine O'Hara has only one scene. And the ensemble really delivers in their roles.
The script for THE PAPER relies a bit to much on the frenzy of a New York newspapers daily operation, and neglects extensive character development. But I guess that's the nature of a piece meant to realistically show the lives of people working in such a crazed profession. On some level, these people don't have much depth to their character beyond their work. Yet, in the end, each and every one of them have a moment in which life becomes more then work and it makes for a satisfying ending to this romp.
The strongest aspect of the film though is the charisma being exchanged between all the performers. The meetings in Duvall's office between the entire staff features some incredibly strong and fluid ensemble work.
This might be Micheal Keaton's best performance, though the man certainly relies very heavily on those eyebrows. His chemistry with Marissa Tomei, as his very pregnant wife, is great. And for anyone who thought Tomei didn't do anything between MY COUSIN VINNY and IN THE BEDROOM, check out this film. Her performance was actually my favorite in the film, she brings more layers to her character than most of the other actors, and she exudes charisma.
Glenn Close, Robert Duvall, and Randy Quaid are all entertaining and fully invested in their interesting (though not too defined) characters. Each is given a gimmick more than a personality... Close the frigid bitch who turned her back on true journalism, Quaid the odd reporter always afraid for his life, and Duvall the lovable old man who lived his work and is now ill. But they are all actors with enough experience to keep the audience from realizing how thankless their roles are.
Overall, THE PAPER is more detailed than your average comedy, and it's fun to watch as an ensemble comedy. Ron Howard needs to return to this style of ensemble comedy material, cuz he handles it very well.
... B- ...
This is the kind of Ron Howard film I enjoy... and I hope he goes back to films like THE PAPER sometime soon.
I found a brand new VHS of this film in my mall for $2 and, knowing how much I loved Ron Howard's PARENTHOOD, I figured I'd give the movie a shot. After all, it's cheaper then renting it would have been.
THE PAPER is no where near as good as PARENTHOOD (Ron Howard's true masterpiece IMO)... but, it is a fun/lightweight film in the same vein. It follows a similar formula by taking one central character, in this case Michael Keaton, and following the busy lives of the many people around him.
THE PAPER offers up an incredible ensemble of actors. Even the smaller roles utilize genuinely talented actors, for example, a woman as amazingly talented as Catherine O'Hara has only one scene. And the ensemble really delivers in their roles.
The script for THE PAPER relies a bit to much on the frenzy of a New York newspapers daily operation, and neglects extensive character development. But I guess that's the nature of a piece meant to realistically show the lives of people working in such a crazed profession. On some level, these people don't have much depth to their character beyond their work. Yet, in the end, each and every one of them have a moment in which life becomes more then work and it makes for a satisfying ending to this romp.
The strongest aspect of the film though is the charisma being exchanged between all the performers. The meetings in Duvall's office between the entire staff features some incredibly strong and fluid ensemble work.
This might be Micheal Keaton's best performance, though the man certainly relies very heavily on those eyebrows. His chemistry with Marissa Tomei, as his very pregnant wife, is great. And for anyone who thought Tomei didn't do anything between MY COUSIN VINNY and IN THE BEDROOM, check out this film. Her performance was actually my favorite in the film, she brings more layers to her character than most of the other actors, and she exudes charisma.
Glenn Close, Robert Duvall, and Randy Quaid are all entertaining and fully invested in their interesting (though not too defined) characters. Each is given a gimmick more than a personality... Close the frigid bitch who turned her back on true journalism, Quaid the odd reporter always afraid for his life, and Duvall the lovable old man who lived his work and is now ill. But they are all actors with enough experience to keep the audience from realizing how thankless their roles are.
Overall, THE PAPER is more detailed than your average comedy, and it's fun to watch as an ensemble comedy. Ron Howard needs to return to this style of ensemble comedy material, cuz he handles it very well.
... B- ...
A newspaper plot that employs the sensationalist angle in itself
SimonJack24 November 2020
Warning: Spoilers
"The Paper" is a movie about one day in the life of the metro editor of a New York City daily newspaper. Michael Keaton plays Henry Hackett, at the fictional New York Sun. His position equates to the city editor of most daily papers. The Sun isn't the "the" paper of prominence in the Big Apple. It is one of several papers in competition in the city. Hackett this day has an interview appointment at The Sentinel (also fictional), which is "the" paper of prominence. This is billed as a comedy and drama, but it's completely lacking in comedy. It has some drama, but it's constantly peppered with angst and harried people dashing about.
While the story is interesting, it's grossly exaggerated. It implies that this is reality on a daily basis - at least of this newspaper and others like it. If that were the case in real life, all of the Hackett's in the world wouldn't' last much beyond a month in their jobs before being carted off to the looney bin. But, not only him - others as portrayed by some of the cast besides Keaton. Most notably would be an assistant managing editor as portrayed by Glenn Close. Her Alicia Clark is a high-strung character who is often pitted against Hackett in paper decisions. She's got the management knack, but doesn't come from a journalism background.
Clark is the picture of the newspaper boss trying to outdo the competition with the sensational approach. And, director Ron Howard spices this film up by having Clark in an extra-marital affair. It's even so wacko that she pops for expensive hotel rooms for her affairs during daytime business hours. And then, to get paid more to cover her expensive habit she tries to squeeze a pay raise out of the managing editor with 18 months still left on her current contract. When he doesn't budge, she goes over his head to the publisher owner who really floors her.
Robert Duval is the managing editor, Bernie White, and Jason Robards has the small part as the owner, Graham Keighley. Duval's character is the estranged father who long ago put his job - with its philandering, above his family and lost his wife and daughter. As Bernie's health is declining, he longs to make up with his daughter. But he can't even do that, and he finds out she was married, and then going outside her home, he sees that she is a mother and that he's a grandfather.
A number of other cast members have notable roles in this picture of mayhem. Marisa Tomei plays Martha Hackett who is about to have their first child. Randy Quaid is a columnist, Michael McDougal, who carries a loaded revolved around for self-protection against the city's transportation manager who is out to get him. Jason Alexander plays that guy, Marion Sandusky. Lynne Thigpen is Janet, Henry's secretary and right-hand woman.
The plot is ballistic, with disputes and harried staffers trying to break the true story behind a gruesome street murder of two Arizona businessmen. Two innocent Black teens were arrested after they happened by the car with the two dead out-of-towners in it. Then there's a brawl in the press hangout bar, a gunshot and wounded Alicia Clark, an ambulance call for Martha Hackett whose baby is coming early, and more.
Such a crazy, frenetic and frantic day in a city editor's life might happen once in a while. Like, once a year. But as routine, or even frequent, very few Hackett's would survive for long. And the picture of the crazy newsroom in this film is highly exaggerated. Such a den of mayhem would drive all of the employees crazy in time. Although I never worked for one of the New York papers, I did work at three daily newspapers in my journalism years. I was a reporter and later an editor. One was an international paper and the other two city papers that had city editors. All had newsrooms that were nothing like that of the Sun in this film.
Some older movies of the 1930s showed newspaper competition with harried newsrooms. Those were in the days when American city newspapers were very competitive and tried to beat the competition with sensational headlines, stories and photos. Yellow journalism still flourished.
But, a number of good movies have been made that show the inside of daily newspapers more realistically. "Teacher's Pet" of 1958 is one, with Clark Gable and Doris Day. Another is "All the President's Men" of 1976 with Dustin Hoffman, Robert Redford, and Jason Robards. A very good TV series that showed the newsroom of a Los Angeles daily paper was the Lou Grant show of 1977-82.
This movie tries to be somewhat sensationalist in its own way - in its very plot. The cast are all good, but too much of this film stretches reality - the gun-carrying journalist, for instance, in 1994 New York City. The daytime adultery of the Close character in expensive hotel rooms. Some fans of the various cast members may enjoy the film. Journalists will probably be split. The movie got generally good reviews, and while its domestic box office was nearly double its budget, that wasn't enough to cover the cost (at about 50% producer's share) until a little profit came with overseas sales.
This is an adult film that is passable for a rainy day, especially if one's a little tired. It doesn't demand a lot of attention. And there's no comedy to keep one awake. The best line of the film indicates how lame the comedy is. Duvall's White says to Keaton's Hackett, "Don't ask marital advice from a guy with two ex-wives and a daughter who won't speak to me."
While the story is interesting, it's grossly exaggerated. It implies that this is reality on a daily basis - at least of this newspaper and others like it. If that were the case in real life, all of the Hackett's in the world wouldn't' last much beyond a month in their jobs before being carted off to the looney bin. But, not only him - others as portrayed by some of the cast besides Keaton. Most notably would be an assistant managing editor as portrayed by Glenn Close. Her Alicia Clark is a high-strung character who is often pitted against Hackett in paper decisions. She's got the management knack, but doesn't come from a journalism background.
Clark is the picture of the newspaper boss trying to outdo the competition with the sensational approach. And, director Ron Howard spices this film up by having Clark in an extra-marital affair. It's even so wacko that she pops for expensive hotel rooms for her affairs during daytime business hours. And then, to get paid more to cover her expensive habit she tries to squeeze a pay raise out of the managing editor with 18 months still left on her current contract. When he doesn't budge, she goes over his head to the publisher owner who really floors her.
Robert Duval is the managing editor, Bernie White, and Jason Robards has the small part as the owner, Graham Keighley. Duval's character is the estranged father who long ago put his job - with its philandering, above his family and lost his wife and daughter. As Bernie's health is declining, he longs to make up with his daughter. But he can't even do that, and he finds out she was married, and then going outside her home, he sees that she is a mother and that he's a grandfather.
A number of other cast members have notable roles in this picture of mayhem. Marisa Tomei plays Martha Hackett who is about to have their first child. Randy Quaid is a columnist, Michael McDougal, who carries a loaded revolved around for self-protection against the city's transportation manager who is out to get him. Jason Alexander plays that guy, Marion Sandusky. Lynne Thigpen is Janet, Henry's secretary and right-hand woman.
The plot is ballistic, with disputes and harried staffers trying to break the true story behind a gruesome street murder of two Arizona businessmen. Two innocent Black teens were arrested after they happened by the car with the two dead out-of-towners in it. Then there's a brawl in the press hangout bar, a gunshot and wounded Alicia Clark, an ambulance call for Martha Hackett whose baby is coming early, and more.
Such a crazy, frenetic and frantic day in a city editor's life might happen once in a while. Like, once a year. But as routine, or even frequent, very few Hackett's would survive for long. And the picture of the crazy newsroom in this film is highly exaggerated. Such a den of mayhem would drive all of the employees crazy in time. Although I never worked for one of the New York papers, I did work at three daily newspapers in my journalism years. I was a reporter and later an editor. One was an international paper and the other two city papers that had city editors. All had newsrooms that were nothing like that of the Sun in this film.
Some older movies of the 1930s showed newspaper competition with harried newsrooms. Those were in the days when American city newspapers were very competitive and tried to beat the competition with sensational headlines, stories and photos. Yellow journalism still flourished.
But, a number of good movies have been made that show the inside of daily newspapers more realistically. "Teacher's Pet" of 1958 is one, with Clark Gable and Doris Day. Another is "All the President's Men" of 1976 with Dustin Hoffman, Robert Redford, and Jason Robards. A very good TV series that showed the newsroom of a Los Angeles daily paper was the Lou Grant show of 1977-82.
This movie tries to be somewhat sensationalist in its own way - in its very plot. The cast are all good, but too much of this film stretches reality - the gun-carrying journalist, for instance, in 1994 New York City. The daytime adultery of the Close character in expensive hotel rooms. Some fans of the various cast members may enjoy the film. Journalists will probably be split. The movie got generally good reviews, and while its domestic box office was nearly double its budget, that wasn't enough to cover the cost (at about 50% producer's share) until a little profit came with overseas sales.
This is an adult film that is passable for a rainy day, especially if one's a little tired. It doesn't demand a lot of attention. And there's no comedy to keep one awake. The best line of the film indicates how lame the comedy is. Duvall's White says to Keaton's Hackett, "Don't ask marital advice from a guy with two ex-wives and a daughter who won't speak to me."
Super Entertainment...
namashi_17 August 2010
Ron Howard is a legendary filmmaker, no two options on that! His body of work is truly admirable, as he has made dozens of memorable films. 'The Paper' is another feather in his well-decorated cap, a film that exposes the behind-the-scenes of a newsroom.
It beautifully depicts 24 hours in a newspaper editor's professional and personal life. Howard makes the most believable characters in a subject like this. Each character has a interesting story to tell, which is the U.S.P of this rush-hour flick. As mentioned, It offers Super Entertainment in those 110 minutes.
Howard's direction, as always, deserves brownie points. David & Stephen Koepp's screenplay is super, with memorable dialog. John Seale's Cinematography is perfect. Daniel P. Hanley & Mike Hill's editing is flawless.
In the acting department, Glenn Close is fantastic. She plays her character flawlessly. Michael Keaton is lovable. One of my all-time favorite actors! Robert Duvall, like always, is restrained and cool. Marisa Tomei is excellent. Randy Quaid is funny, and gets it right. Jason Robards in a cameo, is fine.
On the whole, 'The Paper' is a memorable film. An Ideal Sunday Afernoon Watch! Thumbs Up!
It beautifully depicts 24 hours in a newspaper editor's professional and personal life. Howard makes the most believable characters in a subject like this. Each character has a interesting story to tell, which is the U.S.P of this rush-hour flick. As mentioned, It offers Super Entertainment in those 110 minutes.
Howard's direction, as always, deserves brownie points. David & Stephen Koepp's screenplay is super, with memorable dialog. John Seale's Cinematography is perfect. Daniel P. Hanley & Mike Hill's editing is flawless.
In the acting department, Glenn Close is fantastic. She plays her character flawlessly. Michael Keaton is lovable. One of my all-time favorite actors! Robert Duvall, like always, is restrained and cool. Marisa Tomei is excellent. Randy Quaid is funny, and gets it right. Jason Robards in a cameo, is fine.
On the whole, 'The Paper' is a memorable film. An Ideal Sunday Afernoon Watch! Thumbs Up!
Ensemble Cast; pretty good.
smatysia28 August 2000
Ron Howard gets good work out of his ensemble cast. Michael Keaton's frenetic energy sets the pace in this film, oddly enough set in New York, rather than Chicago like most newspaper films. Kudos to Glenn Close, Robert Duvall, Marissa Tomei, et al. A solid film.
Good performances, though not as gripping nor funny as it could have been
Aylmer13 November 2020
This film sort of disappeared much like the similarly themed Clint Eastwood film TRUE CRIME from the public consciousness though both remain startlingly relevant to the ongoing racialized crime reporting system in America. What both films didn't anticipate is much of a sense of the social outrage in how things can become inverted in the public eye when the police get video'd making arrests that go bad. Both these films cover innocent black suspects wrongfully arrested but both at different stages of their incarceration. Both films center more on a crusading reporter on a search for justice against a time table while facing a major flaw in their life (Eastwood cheating on his wife vs. Keaton's workoholism) vs the actual crime.
Compared with TRUE CRIME, THE PAPER is a decidedly lighter weight affair. Keaton's approach to his character comes off as aloof as usual and many of his coworkers (domineering Glenn Close and sloppy Randy Quaid) feel a little more on the verge of cartoon characters. Robert Duvall pops by with some engaging scene stealing as Keaton's boss (much like James Woods in TRUE CRIME) but he ultimately doesn't lead to much with his side plot. The story also relies heavily on some strange coincidences to propel its plot. What makes it slightly superior though I think is that it has a little more of a sense of realism and immediacy. Things get goofy and unwravel near the ending, but not quite the degree that TRUE CRIME does. Here they do so in the name of comedy, but none of it lands I think because vast stretches of the film go by with no humor at all. It's basically Ron Howard's version of a Robert Altman movie.
All in all, I'd say give this one a look for the performances and as a window into the fading world of newspaper editing. Unfortunately it's merely a 'good' film when it really could have been great.
Compared with TRUE CRIME, THE PAPER is a decidedly lighter weight affair. Keaton's approach to his character comes off as aloof as usual and many of his coworkers (domineering Glenn Close and sloppy Randy Quaid) feel a little more on the verge of cartoon characters. Robert Duvall pops by with some engaging scene stealing as Keaton's boss (much like James Woods in TRUE CRIME) but he ultimately doesn't lead to much with his side plot. The story also relies heavily on some strange coincidences to propel its plot. What makes it slightly superior though I think is that it has a little more of a sense of realism and immediacy. Things get goofy and unwravel near the ending, but not quite the degree that TRUE CRIME does. Here they do so in the name of comedy, but none of it lands I think because vast stretches of the film go by with no humor at all. It's basically Ron Howard's version of a Robert Altman movie.
All in all, I'd say give this one a look for the performances and as a window into the fading world of newspaper editing. Unfortunately it's merely a 'good' film when it really could have been great.
Rock, paper, scissors.....there's no reason not to pick the Paper!
inkblot116 October 2006
Henry (Michael Keaton) has a very pregnant wife, Martha (Marisa Tomei) and a job as a managing editor for a NYC daily. He often spars with his boss (Robert Duvall) and his co-editor (Glenn Close). One day, the newspaper totally misses an important news story, unlike the other dailies. Henry is not going to let that happen again. He starts to investigate a story angle of a recent murder with certainty that he has it right. Unhappily, the paper is close to being printed, his wife is demanding his presence at a dinner with his parents, and the co-editor is fighting him tooth and nail about his hunch. Where are Henry's priorities? This is a nice look at the behind the scenes milieu of a daily newspaper. The big scoop is very important and true newspaper people are unwilling to let anyone stand in their ways to get it. Or, so it seems. Keaton is great as the man who loves his wife and loves his work and has to make impossible choices. Tomei is irrepressively sunny and charming and the wonderful cast of Duvall, Close, Randy Quaid, Jason Alexander, and others make for a first rate film. The New York City setting will always be popular and the costumes are nice. Then, too, the script is bright and sure in its knowledge of the newspaper biz. If you are curled up in your seat on a quiet evening at home, pop in the Paper and stir things up. Everyone loves to see reporters and editors try to outdo one another, at work and at life.
Why does this movie only get a 6.6 rating!!!
flash-13014 May 2020
Great director, great cast, totally unique. Not even on BluRay... WTF???
This is movie is almost 2 hours long, yet such is the pace it only feels like you've been watching it for an hour. It's like a shot of adrenaline.
A great drama, brilliantly evocative of the early nineties, and loaded with humour. You won't regret watching it!
This is movie is almost 2 hours long, yet such is the pace it only feels like you've been watching it for an hour. It's like a shot of adrenaline.
A great drama, brilliantly evocative of the early nineties, and loaded with humour. You won't regret watching it!
Cafeine shot during overhours!
FOEI31 October 2003
More than a year ago I followed a film course with this guy who named 'The Paper' one us his favorites. He watch a lot of movies so his opinion was worth something. Now I have seen the movie, and I can understand what his talking about. 'The Paper' is fast and pointy. It is like a cafeine shot during overhours. I think this is one movie which gets better and better everytime you watch it. This is because it is packed with strong dialog, strong actors and a lot of sidelines. The reason a rated this movie a 7, and not a 8 or 9, is because it is overall to quick for me. It's sometimes like Howard (the director) tried to force the sidelines to come toghether. The movie also doesn't have enough patience if you ask me. It doesn't take the time to reflect on things, which wouldn't misstand.
My god, what a piece of tripe
kardinian18 July 2001
Sometimes a movie comes along which is so bad, that seeing it just discredits the whole art. Desperate Measures was one of these movies, but that is a different topic for a different time. But The Paper was certainly close. Never has a movie stuck out in my mind of having such a poorly written screenplay and waste of acting that Ron Howard has perpetrated in so many of his movies (My god I rooted for the capsule to blow up in Apollo 13 to give the movie some real drama). This movie was about a paper covering a story proving 2 young black children being blamed for a crime they didn't commit and the paper that covered the story. The movie boringly portrayed the inner-workings of the coverage of the story(in a newspaper environment) along with sub-plots that were just insulting in their stupidity. If you would like to see a movie with fake drama and an awful plot which doesn't draw you to the characters, and would like to waste your time, I would suggest this movie. But then again, I would recommend this after sitting through Pauly Shore and Carrot Top trying to convey the meaning of life for a sea slug. It is a shame that an actor who was the best Batman, didn't stick with the series and went along to make such classics as this, Multiplicity and Jack Frost. No wonder he hasn't done a movie in 3 years. This movie also brought down the careers of Glenn Close and Marisa Tomei in the process. It is fortunate that a director that lacks so much talent is out there so that we can better appreciate the works of Stanley Kubrick, and has paved the way for great young directors like M. Night Shyamalan and Sam Mendes (American Beauty) to show their Talent. To quote the Comic Book Guy from the Simpsons, "Worst Movie Ever".
The paper does deliver
jefonline26 November 2007
Kudos to my fellow Canadian from Manitoba who got it dead on! This is one of those movies that can should be played during college and university recruiting presentations. Being a newspaper journalist myself, this one kept me up until 2 or 2 in the am on a Sunday night. It was that good. The end of the movie makes it all worthwhile. I am surprised I had never heard of this movie until the day I saw it. Mchael Keaton, Glenn Close and Randy Quaid were excellent and this movie gives you a very good look at what it's like to be working in the newspaper business, with deadlines, dealing with superiors and the things you have to go through sometimes in order to get the job done. I guess it's a little late to be wondering about a sequel to this one but hopefully another director can take a stab at creating what this one just did.
imPRESSive
writers_reign6 April 2012
Warning: Spoilers
Beginning with Five Star Final in the early thirties the Talkies have been punctuated with movies about the fourth estate, Bogie did one as did Jack Webb and here is yet another with a not-quite A-list cast but none the worse for that. Essentially it's 24 hours on Grub Street with the likes of Marisa Tomei, Glenn Close, Randy Quaid, Michael Keaton and Jason Robards combining to turn out a Bulldog edition of stylish entertainment. The several plot strands come together when necessary and are otherwise kept apart with the whole offering a satisfying glimpse of life in tabloid land. With luck it should stand up to another viewing via DVD.
Commercial.
rmax30482322 November 2015
Warning: Spoilers
It's the story of the staff at one of New York's lesser newspapers, their professional trials and personal tribulations. The cast is seasoned and the performances professional. No complaints. Marisa Tomei gives what is perhaps the most credible performance with Robert Duval close behind. Michael Keaton is fine in the lead.
The problem -- and it's getting to be a big problem these days -- is that there isn't an original idea in it. The script seems to have been written in accordance with some kind of algorithm developed by the MBAs who now run Hollywood. Let's say it's "viewer friendly" for viewers who think of "continental food" as swank.
When we first meet Marisa Tomei as the wife of editor Michael Keaton, for instance, she's preposterously pregnant. There is not a single moment of doubt in the savvy viewer's mind that there is later going to be a scene in which she gives birth or miscarriages or something on the screen. It would never occur to the people who greenlight this sort of pabulum that a movie can have a pregnant character who doesn't deliver, as in the Coen brothers' immeasurably superior "Fargo." I dislike "political correctness" as much as anyone, and this is political correctness gone berserk. Duval is editor-in-chief. He's old and sick. His prostate is the size of a bagel and he has a hacking cough -- and he smokes CIGARETTES! OMG! Nobody else among the frenzied staff of this tabloid smoke. We're clearly meant to feel sympathy for a generous boss but we also think, "Why doesn't the stupid jagoff quit smoking?" That sentiment carries a good deal of contempt. In a sense, Duval is getting what he deserves for his filthy habit.
And when Marisa Tomei meets an old friend, Catherine O'Hara, for an al fresco lunch, O'Hara consumes more white wine with the salad than Tomei, who looks on worriedly. The stringest norms don't leave anyone much wiggle room.
Keaton is a vigorous young man who is offered a job at a higher salary at the prestigious New York Sentinel (read "Times"), but when we see the job interview we know at once that Keaton won't take it. The interviewer is Clint Howard, the director's brother, and while Duval is in his shirt sleeves over at the New York Scuttlebutt, Clint Howard is cool in his blue dress shirt and bow tie and weirdly stylish hair cut. It all goes with his built-in sneer.
The story has its amusing moments but they're punctuated by the pathos that a good commercial product must carry. But Howard's not alone in his hackitude. He's had plenty of company, like Penny Marshal and Rob Reiner.
I guess you can tell I didn't like the script much. Sometimes -- sometimes -- it feels as if we're all being strangled by bourgeois values and the need to be PC. I can't even take a Saturday night's walk in my fishnet stockings and crimson stilettos without all these "proper people" howling with laughter and throwing empty yogurt cups at me. Tsk Tsk.
The problem -- and it's getting to be a big problem these days -- is that there isn't an original idea in it. The script seems to have been written in accordance with some kind of algorithm developed by the MBAs who now run Hollywood. Let's say it's "viewer friendly" for viewers who think of "continental food" as swank.
When we first meet Marisa Tomei as the wife of editor Michael Keaton, for instance, she's preposterously pregnant. There is not a single moment of doubt in the savvy viewer's mind that there is later going to be a scene in which she gives birth or miscarriages or something on the screen. It would never occur to the people who greenlight this sort of pabulum that a movie can have a pregnant character who doesn't deliver, as in the Coen brothers' immeasurably superior "Fargo." I dislike "political correctness" as much as anyone, and this is political correctness gone berserk. Duval is editor-in-chief. He's old and sick. His prostate is the size of a bagel and he has a hacking cough -- and he smokes CIGARETTES! OMG! Nobody else among the frenzied staff of this tabloid smoke. We're clearly meant to feel sympathy for a generous boss but we also think, "Why doesn't the stupid jagoff quit smoking?" That sentiment carries a good deal of contempt. In a sense, Duval is getting what he deserves for his filthy habit.
And when Marisa Tomei meets an old friend, Catherine O'Hara, for an al fresco lunch, O'Hara consumes more white wine with the salad than Tomei, who looks on worriedly. The stringest norms don't leave anyone much wiggle room.
Keaton is a vigorous young man who is offered a job at a higher salary at the prestigious New York Sentinel (read "Times"), but when we see the job interview we know at once that Keaton won't take it. The interviewer is Clint Howard, the director's brother, and while Duval is in his shirt sleeves over at the New York Scuttlebutt, Clint Howard is cool in his blue dress shirt and bow tie and weirdly stylish hair cut. It all goes with his built-in sneer.
The story has its amusing moments but they're punctuated by the pathos that a good commercial product must carry. But Howard's not alone in his hackitude. He's had plenty of company, like Penny Marshal and Rob Reiner.
I guess you can tell I didn't like the script much. Sometimes -- sometimes -- it feels as if we're all being strangled by bourgeois values and the need to be PC. I can't even take a Saturday night's walk in my fishnet stockings and crimson stilettos without all these "proper people" howling with laughter and throwing empty yogurt cups at me. Tsk Tsk.
Go See
Karl Self26 February 2001
Simply a mainstream movie that has got it all right -- story, pacing, actors, sound track, credibility, suspense. And having worked as a journalist, I can vouch for its authenticity -- newspaper journalism really is like that (minus being happily married to Marisa Tomei).
This movie would have deserved a bit more lime light and box office success than it got; having seen "Jerry Maguire" yesterday, I was reconciled that there are movies which can be entertaining and commercial without insulting the average viewer's intelligence.
This movie would have deserved a bit more lime light and box office success than it got; having seen "Jerry Maguire" yesterday, I was reconciled that there are movies which can be entertaining and commercial without insulting the average viewer's intelligence.
See also
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