Basket-case network news producer Jane Craig falls for new reporter Tom Grunnick, a pretty boy who represents the trend towards entertainment news she despises. Aaron Altman, a talented but plain correspondent, carries an unrequited torch for Jane. Sparks fly between the three as the network prepares for big changes, and both the news and Jane must decide between style and substance.
William Hurt Albert Brooks Holly Hunter Robert Prosky Lois Chiles Joan Cusack Peter Hackes Christian Clemenson Jack Nicholson Robert Katims Ed Wheeler Stephen Mendillo Kimber Shoop Dwayne Markee Gennie James Leo Burmester Amy Brooks Jane Welch Jonathan Benya Frank Doubleday Sally Knight Manuel Alvarez Luis Valderrama Francisco Garcia Richard Thomsen Nat Benchley Marita Geraghty Nicholas D. Blanchet Maura Moynihan Show All…
Beth Bergeron Cindy Marty Mark P. Stoeckinger Kevin O'Connell Donald O. Mitchell Rick Kline Linda Whittlesey Patrick Drummond Robert Grieve Thomas Causey
Al filo de la noticia, 富貴浮雲, Теленовини, Broadcast News - Nachrichtenfieber, Nachrichtenfieber, Dentro la notizia, 收播新闻, A híradó sztárjai, Nos Bastidores da Notícia, Теленовости, 브로드캐스트 뉴스, Новинарски блок, Vysíláme zprávy, В ефірі новини, Telepasja, ブロードキャスト・ニュース, משדרים חדשות, Το Κύκλωμα, บรอดคาสท์ นิวส์ คนข่าวค้นหัวใจ, Haberler, 收播新聞, Vysielame správy
USAR
FranceU
South Korea15
Italy
UK
JapanG
Ireland15
Germany12
Greece
Russia12+
Slovakia15
Slovakia15
France
Germany
Greece
Ireland
Italy
Japan
Russia
Slovakia
South Korea
UK
USA
A movie about the burden of being smart enough to know that you'll never be truly happy.
Get out while you can still cry.
Holly Hunter cries all through the film, though usually only at certain scheduled times and places. Until the end, when she chooses principle over desire.
Albert Brooks never cries, though his attack of flop sweat is essentially his whole body crying, telling him to escape.
William Hurt, with complete mastery over his body (and empty head), can manufacture tears on command.
“It must be nice to always believe you know better, to always think you're the smartest person in the room.”
“No, it’s awful.”
God, this movie is perfect. So unique! Never been repeated! Just so so so one-of-a-kind from the first moment. Ultimately a movie about a love triangle between a director, a writer, and an actor. Such a strong resolution too, you don’t know what you want for them until we get there and then you realize it wouldn’t work any other way. Felt so seen by the moment of Jane standing over the balcony saying “if he doesn’t see me soon, it isn’t meant to be”– nothing brings you closer to superstition than a bad crush!
Oh my god I loved it!!! I knew it was a favorite of so many people's for so long and bought the Criterion on a whim ages ago figuring I'd like it, but I was just so immediately enamored with it. Three perfect lead performances, each so well-built and truly unique, it's just a wonderfully original romcom that still manages to feel like a romcom in the best ways. Holly Hunter is fucking outstanding, and so so funny– she has line deliveries here and there that I already wanna rewind and watch again. William Hurt's Tom is the king of himbos, just a puppy that got turned into a successful tall white man and doesn't know what to do with…
This film is getting heavier and more real as I get older, and since I’m still only 25, I expect it to properly kill me eventually.
Jane and Aaron are made for each other, except she doesn’t love him - they have similar brains but the attraction isn’t there for her, which might be one reason why she has crying fits. Her relationship with Aaron is yet another frustrating injustice in her life, after the helpless lowering of standards in journalism, her loneliness as a woman in a male-dominated industry, and the inexorable passing of time.
Jane’s interest in Tom seemed so baffling to me before but now, I understand the despair that is lying beneath it (getting older means…
92
If anything, the ending of Broadcast News is too tidy, suggesting that the sardonic flavor of the love triangle would fade, nice and neatly, rather than burrow into a lost cause for all three characters. Not that it matters much, because the majority of this film is hot dynamite, with one of the greatest screenplays ever written - each line carrying the romantic connections from point to point, bursting with energy, always pushing forward with purpose - and three all-timer performances. Watching Holly Hunter, Albert Brooks, and William Hurt in their prime is to observe master magicians at the peak of their craft.
Where do I even begin with the greatness of this film? It’s sterling screenplay? The tremendous acting from the entire cast? Joan Cusack’s mad dash sequence through the newsroom? What I was drawn to this time unsurprisingly is how it portrays the emotional and professional politics of the newsroom and acts as an intriguing window into the cultural conception of journalism in America.
But also, this film has a tender sexiness to it — William Hurt holding Holly Hunter’s hand and arm before their first, admittedly amazing kiss or Albert Brooks kissing her shoulder, his character unable to hide how deep his well of affection is for her. I love the dumb attractive dude/incredibly smart boss bitch dynamic that unfurls…
