Although directed by uber-liberal filmmaker Oliver Stone, W. is a surprisingly empathetic biopic which succeeds in presenting George W. Bush as a good ol’ boy duped by his advisors, and constantly struggling under the weight of his family’s heavy reputation.

What is presented is not so much an analysis of his government, but a chronicle of the man who would become the most equally despised and revered figure in American politics since, perhaps, Richard Nixon, who ironically was the focus of Oliver Stone’s Nixon, released back in 1995.

W. succeeds in selling its image of Bush, thanks to the absorbing lead performance by Josh Brolin, who thankfully does not resort to imitation, but rather delivers a fleshed out portrayal of the former president, adding dimension to what is now a well known caricature. Bush’s distinct Texas accent, jittery mannerisms, and unintentionally hilarious gaffs are acutely duplicated, yet come off feeling surprisingly natural. 

The film begins in 2002, with Bush sitting pretty on top of an 80% approval rating. Surrounded by his confidants, Bush fleshes out the details –or lack of – in regards to his pre-emptive strike on Iraq, which is given his go ahead regardless of a UN resolution. This is to the delight of Vice President Dick Cheney (spot on played by vocal Democrat Richard Dreyfuss), and the chagrin of Secretary of State, Colin Powell (a barely audible Jeffrey Wright).

W. then proceeds to repeatedly flash back to Bush’s days of wild rebellion during the 1960s and 70s, living a never ending life of loose women, alcoholic binges, and the loss of several jobs, to the chagrin of his father, George Bush Sr. (James Cromwell).

Bush changes his life around thanks to his conversion to Christianity, and the help of his wife Laura (Elizabeth Banks). The “born again” Bush then takes his first steps on the path towards the Presidency, which he believes is divinely inspired.  Stone takes advantage of Bush’s religious affiliation with the use of well placed Christian imagery and music, with “Glory, Glory, Hallelujah” playing in the background during his declaration of war.

Throughout it all, Stone pushes the theme of a man trying to find his own identity, suffocating under the vast and dark shadow of his father, who Cromwell plays with an easy authority, aggressively encouraging his son to “earns his spurs” and retain pride in the family legacy. That he fails in doing so adds even more weight on the soul of a man whose only true goal in life was to earn the respect of his father. Unfortunately, while doing so, Bush created an even bigger mess than what 9/11 handed to him.