The Paper

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.

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.

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.

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.

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.