Movie Review: Margot Robbie Brings the Humanity to "Bombshell"

It is most empowering when it focuses on the women. 

When I entered the screening for Bombshell, I felt a sense of perturbation. That seemed justified, considering the film centers on the real-life take-down of Fox News CEO Roger Ailes (played here by John Lithgow), the man accused of sexually harassing an overwhelming number of his female staff members. But once the credits started rolling, I wrestled with the somewhat uncomfortable feeling that it had been actually rather enjoyable to watch.

Of course, movies are supposed to be entertaining. But they can also add something of value to the current cultural conversation. So, in this #MeToo era, it seems self-explanatory that director Jay Roach’s movie had the potential to be a powerful and eye-opening take on sexual harassment in the workplace. To some extent, it is. Yet, it never quite manages to shake things up enough to be considered a bombshell itself.

In the opening scene of the flick, we are introduced to Megyn Kelly (Charlize Theron), who directly addresses the audience by taking them on a tour of the Fox News building. She’s gearing up for the presidential debate, in which she challenges then-contender Donald Trump to answer questions about his treatment of women. How does he retaliate? By accusing her of anger-menstruating.

It is Theron’s Kelly that gets most of the attention, and it’s astonishing how accurately the actress has embodied the reporter. The resemblance is so striking that you forget you’re not watching the real Kelly, and so credit must go out to makeup artists Vivian Baker, Kazu Hiro, Richard Redlefsen and their team. Theron brings an electrifying energy to the role, and it’s her charisma that makes her the most dazzling presence on screen.

However, it is Gretchen Carlson (Nicole Kidman) who really kicks off the chain of events that ultimately results in Ailes stepping down from his role at the American conservative news channel. She is fired after appearing live on television with no makeup, with the CEO shouting, "Nobody wants to see a middle-aged woman sweat her way through menopause." It’s only one of the insults that Ailes hurls at his staff, justifying his creepy behaviour by reiterating TV is a "visual medium". Having had enough of her boss’s sexual advances, Carlson decides to file a lawsuit against him, reassuring her lawyers that other women will come forward. 

Given that Carlson was the first woman to accuse Ailes of sexual harassment, it is a pity that we don’t learn more about her story. Her role is so vastly underwritten by screenwriter Charles Randolph that we never truly get to see Kidman flourish. Instead, she is predominately used to drive the narrative forward, and to provide a platform for the other women at Fox News to share their own experiences of harassment. This is where Bombshell is the most empowering: when the women speak up, and make their voices heard.

The most powerful scene in the project belongs to Margot Robbie, who plays Kayla Pospisil, a fictional producer who attempts to convince Ailes that she would be better utilised on-air. He responds by asking her to lift up her dress higher, and Robbie’s vulnerability is palpable. Her innocence is in stark contrast to Kelly and Carlson, providing insight into how far women were pushed under Ailes' management. Robbie also brings exceptional humanity to the film. When she breaks down during a teary phone call to secret Hillary Clinton supporter Jess Carr (Kate McKinnon), it’s the only time we’re really privy to the emotional impact of sexual harassment.

The film otherwise leans away from making any moral judgements, despite raising some hefty questions. For instance, Robbie’s character slams Kelly for not coming forward sooner, saying she could have prevented it from happening to other women. It’s undoubtedly a weighty accusation, and Kelly deflects the blame, bringing an end to the conversation. Roach never truly dives into any of the moral complexities that are presented, in a bid to make the immensely confronting issues more palatable for audiences.

In trying to soften the themes, the flick loses its significance. It is glossy, fast-paced and highly entertaining, except it probably shouldn’t be. By focusing on newsroom competition and gossip, it forgets the sensitive message it could have been sending. Of course, there is no simple way to address issues surrounding sexual harassment. Even so, the ambiguities suggest the movie didn’t know how to properly care for these women going forward. At the end of the film, you’re left contemplating what will happen to someone like Robbie’s Kayla. Will she get the emotional support she needs? How can she take care of herself, while still pursuing her dream career?

These are the questions one might have hoped Bombshell would investigate.

3.5/5

Bombshell is rated M for mature themes, sexual references and coarse language. It lands in Australian cinemas on 16 January 2020.

Header Image: STUDIOCANAL Australia.