Miss Sloane comes from first time screenwriter Jonathan Perera and promotes the idea that to get ahead in the vicious game of D.C. lobbying one has to know their subject. Perera obviously knows his subject. How Perera, who was living in Asia at the time he wrote the screenplay and who only optioned his work to literary agents over the internet before securing a production deal knows so much about the inside dealings of those hired to persuade legislators to support particular businesses or causes is a mystery, but he seems to have done a fair amount of research. Either that or what he feeds us in Miss Sloane is a huge pile of eloquently written BS. Like an Aaron Sorkin script (I haven't seen The Newsroom, but I imagine this might feel very similar) where dialogue is almost more important than emotion Miss Sloane fast tracks the audience through a deluge of day to day activities that a lobbyist at the top of their game such as the titular Sloane played with vicious velocity by the one and only Jessica Chastain might engage in. We are given little time to keep up and even less to really gauge what Sloane and her team are working on as the focus is not meant to highlight what kind of case our titular lobbyist and her team are working on, but more how keenly they are framing it to their client's advantage. While the objective for a lobbyist is the end-game it is the getting there, the journey if you will, that requires the creativity of someone in Sloane's position and the more creative one is the better the reputation they garner in their professional circles despite undoubtedly garnering a worse one among friends. Of course, this is why it is also made clear Sloane has no family or friends to speak of or to. It is a vicious circle of sorts and Perera makes that evident by reiterating the importance of how information is framed by framing his own film with that aforementioned end-game. In Miss Sloane the end-game is a hearing on Capitol Hill in Caucus Room 4 of the U.S. Senate. What is she doing here? What has brought her to this point? What accusation is being thrown around and what does it have to do with her abilities and/or the moral ambiguities of her techniques? Each are questions begged as small increments of information are fed the viewer within the epilogue of the film, but once the main narrative takes over it is easy to forget that framing device and simply go along for the ride which is exactly what Perera would prefer you do as he finds trouble in both sticking the ending and making it credible enough that we don't question how well he really does know his subject.