John Madden’s political thriller Miss Sloane is a contrived sledgehammer of a film. It navigates a complex subject matter from the top of a soapbox, spouting ersatz-Sorkin dialogue at the top of its lungs. Its near-infallible central character is always the smartest person in the room, except when she’s saved by the latest in a long line of plot conveniences. And though the film is stocked with talented actors, they often struggle to elevate the mediocre writing above the superficiality of a PolySci 101 term paper on the second amendment. Miss Sloane delights in its own cleverness and “message”, but seems to have considered making a film a secondary concern.