Peter Landesman’s film is a kind of hagiography, and it leans toward whitewashing its subject’s legacy.
The tacky and loose means by which the platitudinous screenplay dances around what ails the football players is just one cog in a whirligig of pat representations.
The film devolves quickly into a pedestrian character study that basks in Gary Webb’s public shaming and victimization.
The Peter Landesman film’s overt politics are minimal, aside from defaulting to the myth of John F. Kennedy as a martyr for something.