You know, I’d really like to give this movie a 10 out of 10, but it’s not QUITE there for me. Stranger still, I’m not sure why.

Writing: Frankly, I’m quite curious as to how historically accurate this script is. As twisted and insane as the proceedings in the movie are, the real insanity is how believable it actually is. Frankly, it’s a bit scary that this movie can feel as real as it does. Sure, it’s got Aaron Sorkin’s typical approach of taking reality in politics and putting a slick, entertaining shine on it. It’s got his typically witty dialog and the frequently lovable scoundrels somehow coming off as both authentic and caricatured.

Production: While this movie is certainly a period film, it doesn’t go out of its way to flaunt the period in your face. While it feels authentically 1980’s, it also doesn’t feel like some part of history that wouldn’t function in today’s era. Much like Charlie’s answer to why congress says one thing and does another (”tradition, mostly”), this movie feels real enough for how little things actually change in politics. Could this story work at this point in time? Surely. While the reality of that goes towards the writing, the way they make the film work as a modern cautionary tale is also very much thanks to the simple production.

Cast: There’s no doubt that the true key to this movie is the acting. This is a bit of an unusual role for Tom Hanks, playing quite a bit again the norm. Sure, he’s charismatic and charming, but he’s also a very flawed, vice-ridden character. His honest surprise at being named to the ethics committee pretty much sums it up. And while Hanks wouldn’t seem an obvious choice for the material at first glance, you kinda need his sense of integrity and good-boy charm to make the unlikely hero work despite his flaws. Julia Roberts is neither great nor bad. Apparently, she looks quite a bit like the real-life person, so I guess that’s reason enough to cast her. She works well enough, but compared to her co-stars, it’s just an average performance. Which brings me to the REAL star of this movie: Philip Seymour Hoffman. I’m a big fan of Hoffman, and this is him at his best. He’s gotten oodles of raves for his performance in Before The Devil Knows Your Dead, which are deserved, but this is a better performance than that. He manages to pull off one of the most likable performances of an aggressive, unrefined, tactless characters. His and Hanks’ characters are an unlikely but perfect team. Frankly, it’s the team of the two of them that makes the entire story actually believable. I don’t think it would have worked without the symbiotic nature of their partnership, both as characters and actors. Their performances just feed off each other so naturally. But make no mistake, Hoffman is the biggest star of this film. Other supporting performances are also great. Amy Smart is wonderful as the attractive-but-wise right-hand to Wilson’s political operation. Then there are the “Angels,” as in Charlie’s. Wilson’s office is hilariously staffed by gorgeous young assistants, who like Amy Adams’ character are smarter than they appear. A couple great bits of casting in these roles, such as Rachel Nichols and Shiri Appleby. Then you’ve got bit part performers who are also quite a bit of fun, like Ned Beatty. Oh, and one musn’t forget Emily Blunt’s performance…

Music: James Newton Howard does a kinda folksy eastern styled score that works well. It’s like a more casual version of what Danny Elfman did for The Kingdom, taking eastern influences and laying guitar over them for emotionality. Not the greatest score of the year (or even James Newton Howard’s greatest), but it works well.