Portside

Snowden, Oliver Stone’s new film is a perfunctory biopic about the NSA’s international surveillance programs that lacks his trademark fearlessness. The film feels trite in its efforts to depict America’s ensnarement in the creepy web of online spying.

Two twenty-first century phenomena have changed the way moving pictures are made and perceived. The first is the accelerating use of digital technology and the inexorable rise of a cyborg cinema that, by combining animated and photographic images, compromises the direct relationship to reality that had long been the medium’s claim to truth. The second is the trauma of September 11, 2001, which for many provided the ultimate movie experience that was more than a movie.