In a world where billions upon billions of people currently inhabit, there are bound to be just as many unique stories. Take time back, even a couple of decades, and that number might seem astronomical, with no dramatic exaggerations applied. “They” say that we all find fame (or infamy) for at least 15 minutes of time, during our lifetimes. Clearly, this is not an exact science and that seemingly arbitrary calculation might well be tipped on the scales, so to speak, once lifelong celebrities are taken into account, but I digress…
We all have moments, collectively and individually, where we “remember when” a certain calamity occurred. Obviously (and thankfully), these moments are not just limited to the down times of our existence, but as I once heard someone say, “The cheers fade, but the boos often linger.” In other words, we have a tendency to recall the sad times more vividly than the joyous times. This is likely why the joyous moments matter so much more to each of us. Let that be something to keep in mind as you begin to watch “Richard Jewell,” the latest offering from the legendary actor/director, Clint Eastwood (“The Mule”).
The titular character is portrayed by Paul Walter Hauser (“BlacKkKlansman,” ‘Cobra Kai’), a relative newcomer to the mainstream spotlight, but someone who has come up in a big way, in just these past few years. 
It would appear that playing as biographical individuals might just be his speciality and there is bound to be room for plenty more roles, just like that, though only time will tell. Although Eastwood has a great ability to capture emotions in his projects, credit must still be given to the players involved and Mr. Hauser succeeded, mightily.
Beyond the lead character, other, impactful performances were demonstrated by the likes of Kathy Bates (“On the Basis of Sex”), as Barbara Jewell, and Sam Rockwell (“Vice”), as Watson Bryant. 
Even if you have no experience as a mother or a practicing attorney, you ought to be able to connect with at least one of (or even both of) these characters, on an emotional level, which is vital to this movie, in my estimation.
I would hate to neglect other big names, such as Jon Hamm (“Baby Driver”), as Tom Shaw, and Olivia Wilde (“A Vigilante”), as Kathy Scruggs. 
There was nothing bad about their performances, but they were not intended to take anything away from the previous three characters that I mentioned and that was the right call. In fact, they added something to the film by not standing out as much.
Kathy Bates was so effective as the mother of the man that this true story is about that I think it would be a real shame if she were snubbed during the upcoming award season. With that being said, her role is more isolated, as the lone parent, and much of what she does well comes as a result of her standing up for herself as the mother of her son, whom she truly loves (in the movie, of course). The most important relationship in “Richard Jewell” is what we see between Jewell and his friendly attorney, Bryant. The onscreen chemistry between Paul Walter Hauser and Sam Rockwell is apparent, right from the get-go. Clearly, Eastwood wanted us to see the value of their interaction and he establishes that, almost immediately.
Credit should also be noted in the realm of: screenwriting and cinematography. You might as well throw in editing, too. I find it unusual that the screenplay was based on more than one source, but that should make the work of Billy Ray (“Terminator: Dark Fate”) even more triumphant. Yves Belanger worked, previously, on “The Mule,” but has received very little in the way of accolades for his camera work. Perhaps that will change this year. Joel Cox, on the other hand, has garnered plenty of notoriety as a film editor and he ought to be in line for more attention, soon.
Overall, I will not rate “Richard Jewell” as highly as “Ford v Ferrari,” but the gap is pretty slim. They should both be actively-listed in the months ahead and if they are, it could signal a turning point for the Academy Awards, for instance, when it comes to audience participation from the television sets, in February. In conclusion, let us try and remember 2019 the way we choose to remember the real-life Richard Jewell: flawed, but acceptable; the underdog, becoming a top dog, in his own right. May they both Rest In Peace, come 2020.
Director: Clint Eastwood
Screenwriter: Billy Ray
Based on: “American Nightmare: the Ballad of Richard Jewell,” by Marie Brenner and “The Suspect,” by Kent Alexander and Kevin Salwen
Starring: Paul Walter Hauser, Sam Rockwell, Kathy Bates, Jon Hamm, Olivia Wilde, Ian Gomez as Agent Dan Bennet, Dylan Kussman as Bruce Hughes, Wayne Duvall as Polygraph Examiner, Mike Pniewski as Brandon Hamm and Nina Arianda as Nadya
Cinematography: Yves Belanger
Editing: Joel Cox
Distributor: Warner Bros. Pictures
Release date: December 13th, 2019 (United States)
