Affairs of State (2018)

Very very predictable, including the post credit scene !!!

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Whoa, no wonder every single reviewer is trashing this thing. It's difficult to fathom how this drastically flawed script ever got greenlit by any producer. They must be imbeciles. This was so poorly written and produced that I can only guess that the writer and/or director were in some way related to the geniuses throwing money into this. Maybe it was a blackmail situation. Or maybe worse than that. Adding insult to injury, the "acting," if you can call it that, was embarrassingly amateurish. This lame-ass effort isn't even worthy of a b film classification. File this one away under "Nobody except twelve people will bother to watch this."

The filmmakers were obviously attempting to piggyback on the current political environment but unfortunately this film fails in nearly all areas. The lead actor, David Corenswet, does an abysmal job and is not one bit believable in the role. The other characters come off like caricatures and the dialogue is endlessly littered with cliches. Most annoying was the cinematography which makes it appear like it was shot with an inexpensive camcorder. The film's budget was likely in the $100-150k range and it shows throughout. This is C-level straight to Netflix dreck that should be missed.

GREAT ACTORS AND DIRECTING, MUST WATCH MOVIE, LOVED THE MAIN ACTOR DAVID CORENSWET, HAS A HUGE PRESENTS ON SCREEN.

Good looking, ambitious young politico sleeps and blackmails his way onto a Conservative presidential campaign and quickly reaps the whirlwind.This ultra-low-budget (it looks like it was shot with a camcorder), pseudo-sophisticated wanna-be thriller wears its politics on its sleeve. Once again, the Right is inherently evil. At one point a black character - a wealthy, hip hop impresario - tells a man of the Right that even if many blacks do share his Conservative values, "We still just n*****s to you." And the right-wing guy agrees with him! (He does everything but twirl a mustache)Another character - moderately selfish, yes, but compared with the others, a voice of reason - - has an extended riff about how the United Party (a stand-in for the GOP) is a bunch of "fascists" in favor of "selling guns to 7-year-olds and laughing while the cops shoot people in the street."Swell.Now, are there unsympathetic Progressives in this movie? Sure. A few. But their POLITICS are never questioned.But of course, no professional critic so far has mentioned this. Why? Because critics are Progressive themselves (most of them), and fish don't know they're wet. In their minds, it's simply a GIVEN that the Right is evil - duh! - so portraying them as such is simply hewing to reality, and hardly worth the mention. But I'll lay odds that if the LEFT was being portrayed this way, they'd definitely be writing about it. And deducting points accordingly. So I'll deduct points myself for the shameless bias ... as well as the threadbare production values, the incredibly lame plotting (a clandestine meeting in an underground parking structure? Are you kidding me??), the sometimes-good/often-mediocre dialogue, and the utter lack of suspense. Credit where it's due, though: It's refreshing to see a woman over 60 (Mimi Rogers) playing a sexually vital character, and the young lead (David Corenswet) gives a good performance. C-