J. Edgar Hoover’s latest public appearance comes through the directorial efforts of Clint Eastwood and the dramatic talents of Leonardo Dicaprio, Armie Hammer and Naomi Watts. Award-winning “Milk” scribe Dustin Lance Black tells Hoover’s story non-linearly. The biopic addresses the changes throughout the Federal Bureau of Investigation, and the heavily speculated private life of Mr. Hoover. There was talk that Hoover’s deputy, Clyde Tolson, may have been his lover, which the storyline addresses extensively.

Hoover is remembered for many things throughout history; he was an all-American bulldog. It would have been nice to see some of that man on screen. Though Dicaprio doesn’t do a bad job in his portrayal of the F.B.I. director, he is not the man in the textbooks. He is a well-spoken and poised man on screen, though he is altogether too heroic to be entirely believable. The makeup must be commented on in this piece. Despite Dicaprio’s being quite good, he is difficult to believe at the end, however. Dicaprio’s natural boyishness may be the culprit.

Naomi Watts does not have a fulfilling part. She plays his lifetime secretary, Helen Gandy. She at first rejects his advances, claiming that she if completely focused on her work. For a woman in that time period that is utterly unbelievable, it would have been customary for a woman to want financial comfort. Alas, her talents are wasted behind her desk, playing a part that could have been any other actress.

Armie Hammer portrays Clyde Tolson. He is handsome and well spoken, like only a man of good breeding is. He respectfully remains at Hoover’s side despite times where Hoover is less than reasonable. His casting was well chosen.

Dame Judi Dench is Hoover’s overbearing mother, and her influence shaped much of Hoover’s later and earlier life. Dench is lovely in everything. The woman is always a joy to watch.

Mr. Black chose to pen this story in a non-linear fashion, which instead of making the story more interesting and enveloping, just eaves the audience with loose ends and several questions. At one point, Hoover is having dinner with a niece, who has no dialogue and is never seen again. Black’s dialogue is flowery and comes off like prose. It is beautiful to listen to, but doesn’t lead me to believe that it’s anything that would come out of J. Edgar Hoover’s mouth.

Despite what Eastwood has said in interviews, the story spends much of its time developing the relationship between Tolson and Hoover. They share several on-screen moments, never missing a lunch or dinner together and a hand caressing one another. All culminates in an angry kiss that eludes so much to Ang Lee’s “Brokeback Mountain,” it entirely ruined the moment.

This film is two hours and 17 minutes long, and it feels that way. So much about the movie is entirely unfulfilling, despite going into it with an open mind. The actors never get their comeuppance, and I never really believed much of the movie. If you’re a fan of any of the actors or director, it may be worth it. With that said, I checked the time more than once.