Snowden (2016)

If Hannah Arendt focused on the banality of evil, Oliver Stone focuses on the banality of goodness. His new film “Snowden” feels like a retread of “Wall Street,” where a terminally bland young man is intoxicated by the excesses of a brilliantly corrupt environment but turns on his benefactors in the name of justice. In this case, Stone is working from a real-life adventure that does not necessarily translate smoothly into a reel-life presentation.

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