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Inspired by real-life political events, director Rod Lurie once again delves into issues of power and gender with NOTHING BUT THE TRUTH, an engaging thriller about the right to a free press and the price of principles. As the film opens, the president of the United States has survived an assassination attempt. Believing that the leader of Venezuela was behind the plot, the U.S. launches a military attack against the country. In Washington, D.C., reporter Rachel Armstrong (Kate Beckinsale) has revealed that Erica Van Doren (Vera Farmiga), the wife of the U.S. Ambassador to Venezuela, is a C.I.A. operative who found no proof of a plot. Armstrong quickly finds herself contending with both Van Doren and special prosecutor Patton DuBois (Matt Dillon), hellbent on discovering Armstrong's source. When she refuses to reveal her source, Armstrong is jailed for contempt of court. In the troubled year that follows both women will confront the harsh realities of life during wartime, including the questioning of their patriotism and even threats to their lives. As a Supreme Court hearing draws near, and with her family cracking under the strain, Armstrong must decide whether her individual needs trump the importance of civil liberties. Lurie ably balances the personal struggles with the political machinations, while Beckinsale and Farmiga compellingly convey each woman's strength of conviction. (official distributor synopsis)

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Kaka 

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English Carefully written, thematically urgent and grandly generous in acting. Kate Beckinsale, Matt Dillon, Alan Alda, and co. take this courtroom drama up a notch. Though on first impression, the intimate feel and modest marketing make it look purely average, this it's exactly one of those films that doesn't tend to be great, but deals with greatness quite deftly. ()

DaViD´82 

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English The main theme definitely provides space for building a "large journalistic thriller". But the cheap TV set and the somewhat second-rate cast have something different on their minds. But this is not the main issue. The main issues is mainly in direction and script. On the one hand, they wrap it all up so sloppily that the point is clear from the first moments, and especially after the first half hour, it starts to tread water in an unprecedented way. All the cards, arguments and moral questions are made clear, and suddenly there is nothing else to show. And so it is the same all the time... Everything the same. And even that might not have been a bad thing, but sadly it had neither worked on a personal dramatic level. But even this level lacks any tension (because the point is clear and at the same time everything sadly revolves around it) and Kate Beckinsale does not help it either (let alone steals the show), because she follows the motto "you can make any mistake if you do nothing". At the same time, she can hardly ever have such a nice role in her career. It could (and should) have been excellent movie, but it is only appealing in all respects. The saddest thing is the idea of what a better screenwriter could do with the same theme with the right director and the top cast. ()

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lamps 

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English You should stand up for yourself. Mothers have been hammering this into our heads since we were very young, but it's only with the loyal and tenacious reporter Kate Beckinsale by our side that we can discover the true meaning of this simple phrase. An honest courtroom drama, which may not impress with its course and will not stay in your memory, but the excellent actors make it beautiful to watch and the perfectly conceived twist will surprise you so much that you won't forget it. And Kate looks great. :-) 80% ()

Othello 

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English The exceptional strength of this film is that, despite the wide range of interrelated themes, characters, and positions it explores, it has established a clear hierarchy for them in relation to the story it wants to tell. And because of this, it masterfully manages to concentrate an entire story with nearly 40 speaking characters (usually a film has around 10-20; horror films, for example, rarely even have 10) into 100 minutes, where he quite consciously for the most part ignores the issue of the United States' pretexts for military intervention or the public's reaction and mood to the protagonists' findings and work. Everything we see here takes place behind the veil, where everyone has their own motivations, hence the film's decision not to build an outright negative side. The closest thing to that, given his position with regard to the protagonist, is in the role of the special federal prosecutor wonderfully played by Matt Dillon, but even he has room to articulate his motivations so we’re able to understand them even though we might not agree with them. The biggest surprise here, however, is the camerawork, which perhaps out of awareness of the limitations of a film made up of dozens of characters interacting in generic interiors, chooses atypical angles, extreme zooms, cuts the dialogue from close-ups, often with contre-jour, and introduces the establishing shots as late as the 5th or 10th frame of a scene (Soderbergh, for example, works in a similar way in his contemporary films). This also makes the film's characters partially dehumanized as general symbols of their principles, which is ultimately the whole point of the struggle depicted. This is why Nothing But the Truth is an ideal representative of the auteur film, where the director completely understands what the script wants to be about because the same person is behind it. ()

POMO 

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English Nothing But the Truth is a quality courtroom drama about a strong and noble journalist who is willing to sacrifice even what is most precious to her for her principles. Kate Beckinsale is excellent and the enthusiasm of the rest of the stellar cast raises the film above the level of its standard script. ()

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