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The Paper

The Paper

Comedy · Drama · 1994

Henry Hackett is the workaholic editor of a New York City tabloid. He loves his job, but the long hours and low pay are leading to discontent. Also, publisher Bernie White faces financial straits, and has hatchet-man Alicia Clark—Henry's nemesis—impose unpopular cutbacks.

Movie details

The Paper

“A behind-the-lines look at work, marriage and other forms of combat.”

1994 Comedy · Drama 1h 52m

Critical arithmetic

The consensus, allegedly.

IMDb

6.7 / 10

17.1K votes

Rotten Tomatoes

86 %

Tomatometer

Metacritic

70 / 100

Metascore

TMDB

6.6 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

Henry Hackett is the workaholic editor of a New York City tabloid. He loves his job, but the long hours and low pay are leading to discontent. Also, publisher Bernie White faces financial straits, and has hatchet-man Alicia Clark—Henry's nemesis—impose unpopular cutbacks.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Paper?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Ron Howard

Written by

Stephen Koepp · David Koepp

Michael Keaton

Michael Keaton

Henry Hackett

Robert Duvall

Robert Duvall

Bernie White

Glenn Close

Glenn Close

Alicia Clark

Marisa Tomei

Marisa Tomei

Martha Hackett

Randy Quaid

Randy Quaid

Michael McDougal

Jason Alexander

Jason Alexander

Marion Sandusky

Catherine O'Hara

Catherine O'Hara

Susan

Court is in session

Put The Paper on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.