Hollywood liberal Jessica Chastain has ambitious plans for her new movie Miss Sloane in which she plays a Republican gun lobbyist who undergoes an ethical transformation.
She wants the movie to be much more than an inside-the-beltway liberal advert for gun control and an evisceration of the lobbying industry. Chastain has made it clear she wants the film to drive widespread change.
“The system is rotten,” Chastain recently told the Los Angeles Times, “and it needs to be overhauled. Yes, we talk about the gun debate, but the whole movie could take — it could be about climate change, immigration, controversial subject, because it leads us to the system is broken.
“The priorities are in the wrong place. Of course, we cannot ignore what’s happened this past week, but also we cannot ignore what’s happened the months before.”
She has also been calling her new character a “nasty woman” on social media in reference to Donald Trump calling Hillary Clinton a “nasty woman” during last month’s final presidential debate.
But Miss Sloane, which also stars Mark Strong and John Lithgow, opened to a mixed critical and commercial response last weekend. The New York Times reckoned the movie “fumbles the issue it purports to address, and it eventually runs aground in a preposterous ending. In light of the recent presidential election, it all feels like small potatoes.”
Currently in limited release prior to opening across the country next month, Miss Sloane has had a smaller average gross per screen than other new movies Lion and Manchester by the Sea.
Meantime, Chastain is keen on there being more female movie critics out there:
Hey #nastywomen – If you love film and are good with a pen, how about becoming a critic? We need female critics to bring balance & diversity
— Jessica Chastain (@jes_chastain) November 16, 2016
Presumably she’s not so keen on the ‘balance’ shown by Anne Hornaday in her remarks about the movie in the Washington Post. Hornaday noted that the movie is unlikely to garner Chastain her third Oscar nomination: “When the film screened recently, the mood in the room was subdued, the film’s contemptuous, amoral portrait of Washington feeling both redundant and strangely obsolete.”