Ron Howard’s 1994 film The Paper is far from a masterpiece, but its charm lies in its ability to encapsulate a specific era of filmmaking—one that doesn’t strive for grandeur but instead offers a well-crafted, accessible story about the gritty world of tabloid journalism in New York City. Despite its mixed reviews and fading from the mainstream, the film remains a testament to a bygone genre: the middlebrow comedy-drama that offers both humor and drama without the burden of blockbuster expectations.
The film unfolds over a single day at the fictional New York Sun, where the newsroom is abuzz with the fallout from a double-murder mafia hit pinned on two Black teenagers. While the premise itself doesn’t scream “feel-good,” Howard infuses the story with an energy reminiscent of classic screwball comedies from the 1930s and 40s. The newsroom, a pressure-cooker of drama and chaos, becomes the perfect backdrop for the manic pursuit of truth.
At the helm of the film is Michael Keaton, who plays the harried metro editor, Henry Hackett. Keaton brings a relatable, frantic energy to the role, navigating the pressure of covering a major story while fending off pleas from his pregnant wife, played by Marisa Tomei, to leave the newspaper for a more stable job. Alongside Keaton, a talented ensemble cast including Glenn Close, Robert Duvall, and Randy Quaid add depth to the narrative, with Close portraying the corporate-minded villain who places financial gain over journalistic integrity.
Although The Paper can’t rival the sharp, iconic journalism films like All the President’s Men, it does capture a uniquely idealized version of tabloid life. Sweaty offices, overflowing desks, and a constant stream of cigarette smoke paint a vivid picture of pre-Giuliani New York—a city that is grimy, alive, and on the cusp of transformation. Fans of 90s New York cinema will appreciate the film’s portrayal of the city during a period that was less romanticized than its gritty predecessors of the 70s and 80s. Locations like the Williamsburg Bridge diner serve as a time capsule of a time before gentrification took hold.
For those who grew up in the 90s, The Paper may hold a special place in their heart, representing an era where pop culture and media were intertwined with the aspirations of young people drawn to the excitement of big-city life. It’s not a film that demands admiration, but rather one that invites repeated viewings, with its messiness and exuberance offering a subtle form of joy.
As the film closes, the story of the two innocent teenagers is resolved, the newsroom triumphs with its scoop, and New York wakes up to begin another day. The cycle continues, and the empty front page of the New York Sun waits to be filled again. The Paper may never be a cinematic classic, but it remains a warm, nostalgic reminder of the joy that comes from messy, real-life drama, even when it’s filtered through the lens of a newsroom’s frenetic energy.
The Paper is available to rent digitally in both the US and the UK.
Related topic:
“Stupid Games” Brings Social Horror to Streaming
Yash’s “Toxic” Set to Redefine Indian Cinema with Dual-Language Production
Tom Cruise’s Final ‘Mission: Impossible’ Film Weighs Cannes Premiere