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THE
PAPERBOY
Words by Louise
Fisher
Gritty, gripping and evocative:a darkly comical thriller with plenty of sweat. This film
doesn’t hope for a reaction, it demands one.
Probing at issues of family, sex and racism in1960s Florida, Lee Daniels’ adaptation of Pete
Dexter’s novel does not disappoint. The story follows ‘Paperboy,’ Jack (Efron), as he offers
to help his journalist brother, Ward (McConaughey), save inmate Van Wetter (Cusack) from
the electric chair.
Accompanied by Yardley (Oyelowo), his black colleague whose clipped tones and eloquent
sarcasm act as a slap in the face to the town’s people, Ward embarks on a mission of justice
whilst battling his own inner demons. Added to the mix is Charlotte Bless (Kidman) - an
emotionally damaged, dysfunctional woman who writes steamy letters to Van Wetter. Jack
becomes infatuated with Charlotte who brazenly flirts, but refuses to satisfy his lust.
Sassy maid Anita (Macy Gray) offers Jack the maternal support he craves. The affectionate
bickering between these two is so natural it instils an honest, believable quality to their
relationship, which we failed to find in ‘The Help’.
Kidman is convincing and strong throughout, reminding us what she’s made of after her
more contrived efforts in The Stepford Wives and Moulin Rouge. Even when squatting over
Efron in the controversial peeing scene or writhing around on a chair for her sadistic lover,
Kidman manages to portray the vulnerability and sense of unique morality this character
possesses.
The music is cleverly chosen and supports the tone of each scene, one minute thrilling and
tense, the next off-beat and quirky. Bubbling below the surface, Daniels reveals a seedy
undercurrent of desire, frustration and denial. The result is violent outbursts, closely shot for
maximum impact.
Although a lack of fluidity and patchy narration can make this a somewhat dis-jointed watch,
The Paperboy remains a raw, provocative account of human relationships that immerses
you in the sweat soaked swamp lands and grips you from beginning to end.
END

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The Paperboy review

  • 1. THE PAPERBOY Words by Louise Fisher Gritty, gripping and evocative:a darkly comical thriller with plenty of sweat. This film doesn’t hope for a reaction, it demands one. Probing at issues of family, sex and racism in1960s Florida, Lee Daniels’ adaptation of Pete Dexter’s novel does not disappoint. The story follows ‘Paperboy,’ Jack (Efron), as he offers to help his journalist brother, Ward (McConaughey), save inmate Van Wetter (Cusack) from the electric chair. Accompanied by Yardley (Oyelowo), his black colleague whose clipped tones and eloquent sarcasm act as a slap in the face to the town’s people, Ward embarks on a mission of justice whilst battling his own inner demons. Added to the mix is Charlotte Bless (Kidman) - an emotionally damaged, dysfunctional woman who writes steamy letters to Van Wetter. Jack becomes infatuated with Charlotte who brazenly flirts, but refuses to satisfy his lust. Sassy maid Anita (Macy Gray) offers Jack the maternal support he craves. The affectionate bickering between these two is so natural it instils an honest, believable quality to their relationship, which we failed to find in ‘The Help’. Kidman is convincing and strong throughout, reminding us what she’s made of after her more contrived efforts in The Stepford Wives and Moulin Rouge. Even when squatting over Efron in the controversial peeing scene or writhing around on a chair for her sadistic lover, Kidman manages to portray the vulnerability and sense of unique morality this character possesses. The music is cleverly chosen and supports the tone of each scene, one minute thrilling and tense, the next off-beat and quirky. Bubbling below the surface, Daniels reveals a seedy undercurrent of desire, frustration and denial. The result is violent outbursts, closely shot for maximum impact. Although a lack of fluidity and patchy narration can make this a somewhat dis-jointed watch, The Paperboy remains a raw, provocative account of human relationships that immerses you in the sweat soaked swamp lands and grips you from beginning to end. END