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In a time when feminism, gun laws and corruption are heating up the political climate in America, Miss Sloane is a fitting release. Set in present day D.C, Elizabeth Sloane, played by the transfixing Jessica Chastain, is a high powered political broker whose precision and intellect is what makes her the most desirable lobbyist on ‘The Hill,’ but whose ruthlessness and lack of empathy divide those she fights for. When Sloane and her firm are approached by the gun lobbyists to campaign against a new senate bill that threatens the ease of access to guns, Sloane is faced with a moral dilemma.
For someone who clearly lacks a moral compass she shocks her allies as she jumps ship after being courted by anti-gun lobbyist, Rodolfo Schmidt (Mark Strong). Sloane secures her whole team positions with her new firm but only a handful oblige; a move that will ultimately prove suicidal for one side. And so begins a merciless political take down that turns personal.
From the opening monologue Sloane sets a pace that is unwavering and tireless. For the layman who isn’t privy to political and legal jargon, the dialogue that is hurled across the boardroom to the caucus floor is hard to keep up with. For the majority of the two hours and fifteen minutes it was hard to shift off the back foot, grabbing at bits of darting exchanges to piece together a scene. Some moments were lost all together. It gave vibes reminiscent of the 2015 box office hit, The Big Short which was a rabbit warren of hard to keep up with conversation and complex legalities, but somehow it worked. Miss Sloan didn’t execute the commotion with quite the same conviction.
The first time screenwriter Jonathan Perera was brave in taking aim at such a powerful majority of Americans who believe in the possession of guns, primarily for safety. It’s a scary thought Sloane shares that; “Any headcase, felon or terrorist can buy an assault rifle from a gun show, the internet, or his buddy at the Bowl-A-Rama without so much as an ID.” Perera shines a light on the fear mongering tactics that are employed behind the closed doors of the campaigners. In this instance the target is women. A clever demographic to profile as a recent study shared of American women saw the single most important reason women own guns is for self defence, followed closely by protection of home and family. And the numbers of female gun owners are on the rise.
It was refreshing to see a strong female protagonist, supported by many others (Gugu Mbatha-Raw and Alison Pill) wear the pants for what was ultimately a story of sacrifice. Ambition shouldn’t be a dirty word but it’s often mislabelled on women who know what they want, and strive to grab it with both hands in victory. However it’s unmistakably a dirty word when paired with Miss Sloane as she takes down anyone getting in the way of her victory. There was an air of mystery about Sloane, not in a romantic way that has men fumbling over her but quite the contrary; a not often portrayal of an emotionless woman who regularly turns to a male escort for sexual release. In a poignant move the call-boy becomes the only person not to sell out to the dog-eat-dog affairs of the impending senate inquiry.
A tapestry of lies, corruption and blackmail are woven into the film’s many plot twists. The biggest mic drop is unsurprisingly let go in the final moments, one you won’t likely see coming. Exhausting at times, cunning at others, and predictable at some, Miss Sloane is a great-watch! Be sure to take along someone who finds a heavy dose of Mamet speak enthralling. My bet is that’s a male counterpart, not the girls in Gold Class on a Friday night.
Miss Sloane is in cinemas March 2nd.
