At 69 years old, Oliver Stone isn’t likely to change his filmmaking style, but a little bit of uncommon subtlety might have behooved his latest work, “Snowden.” So often is the director determined to write the first rough draft of cinematic history on a current event – Vietnam, the Bush administration, the 2008 recession – that he sacrifices insight for topicality.
His take on NSA whistleblower Edward Snowden doubles as a discussion about the trade-offs between privacy and security in the digital age. When he’s not blaring the themes through dialogue in lines such as “terrorism is the excuse; it’s about economic and social control,” the talking heads trade lines that sound excerpted from TED Talks. Moreover, the dust is still settling here. Why remake Laura Poitras’ perfectly good documentary “Citizenfour” with flashbacks when the story is still unfolding?
The film’s background information on Edward Snowden, largely left out of news media discussion, does provide some intriguing context to his giant revelation. His participation in questionably legal CIA operations, bipartisan disenchantment and operational disillusionment all played a big role in leading Snowden to rendezvous with Poitras and journalist Glenn Greenwald in June 2013. To Stone’s credit, he lets these events slowly form the character’s resolve to leak information; no one moment seems to snap him.
As Snowden, Joseph Gordon-Levitt delivers a turn that belongs on the Wikipedia page for “uncanny valley.” He channels the familiar real-life figure in many surprising ways: a deeper voice, a less frenetic pace, a quiet resolve. The only thing that stands in his way is the repository of ideas we have about Joseph Gordon-Levitt, which he automatically taps into by appearing on screen.
Between “Snowden,” “The Walk” and even going back to “Looper,” Gordon-Levitt has amassed an impressive body of work where he selflessly attempts to bring himself closer to the character, rather than the other way around. He’s busting his hump to ensure we see the role he plays as someone distinct from himself, not just some costume he puts on to slightly mask his own persona. Frequently, Gordon-Levitt’s reckoning with the character of Snowden feels more fascinating than the character himself. B / 
Karyn Kusama’s “
Marshall and the Movies 
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