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Spotlight
It wasn’t too long ago that I was sitting in my Intro to Journalism class with excitement in my bones because I had finally gotten to the point where I was going to learn how to become something I’ve wanted to become since I was a kid, a journalist. Well, thanks to the very mediocre standards at a particular country college in New Jersey, that dream was, and still is, put on hold. Frankly, I wasn’t a big fan of newspaper journalism. I didn’t care about what was said in the town meeting this weekend because it most likely involved Mrs. Phelp’s rose bush and how she couldn’t expand it due to the stupid creek next to her house which should be filled up. I don’t care about Mrs. Phelps. I wanted and still want to be a conflict journalist. The real dream is travel the world and report on stories that aren’t so readily available to be told. Stories that Vice started to do before they started writing articles on what food is the best before anal sex. I wanted to expose crime and change how people saw the world. This would entail exposing the world as a dark evil place filled with criminals, but at least the rosey colored glasses would be puled back a bit. That dream has been put on hold while I try figure out my life in more immediate ways. That doesn’t however keep me from planning such adventures. They’re still present in my mind. They came back up to the surface in a big way after finishing Tom McCarthy’s 2015 film that thankfully doesn’t star Adam Sandler, Spotlight.
You read the synopsis at the top. You read the newspapers ten years ago. The Catholic Church is f*cked up. Like, REALLY REALLY f*cked up. My interest in this film was tied to the journalism aspect as I described in the first paragraph, but I also wanted to see how a major market film would handle this kind of subject matter. I turned out to be very pleased with how they decided to do it.
Spotlight is basically This century’s “All the Presidents Men”. Yes, I’m aware that this observation has been realized and written down by probably every single person who has ever talked about this film this year. It does however ring true. McCarthy decided to stay close to the procedural side of telling this story and skip all the shiny dressings that usually accompanies a salad like this. With Spotlight, you have just basic ingredients, except these ingredients are made with extreme care and focus. Gone are the things like romantic ties between main characters. Rachel McAdams and Michael Keaton don’t have a secret love fling. Swirling orchestral music isn’t harpooned at us whenever something emotional or powerful happens. The film lets us do all the work when it comes down to feelings and it’s to the films credit that by the end, my gut has been falcon punched into infinity. The film stands for itself and that’s really what I loved about it. The camera work wasn’t flashy but you can really notice it in small movements during pivotal scenes toward the end. McCarthy didn’t paint a new and unheard of masterpiece with his camera, rather he decided to hunker down and make every damn shot and cut count. It’s a reason why the film got nominated for editing, director, and screenplay. Those three things are what make this film special to me. It’s a technically perfect film as far as pace and tone goes, especially with the dark subject matter. It would almost be insulting to try to throw in cheesy love triangles when talking about something as serious as the rape of A LOT OF KIDS BY PRIESTS.
Speaking of subject matter, uhhhh yeah, it’s pretty horrible. The interviews with the victims and in one case, one of the men responsible, were done extremely well. McAdams does her best work here. I’m honestly a little perplexed why she got nominated for this role as I thought that Charlize Theron was phenomenal in Mad Max, but it’s not like McAdams was in any way bad. It wasn’t special to me. Mark Ruffalo however deserved his nomination. The dude killed it like he usually does. Keaton and the rest of the cast were perfect in their roles and you can’t really go wrong with casting Stanley Tucci in anything. The cast were perfect in their handling of such dark and disturbing subject matter. They were just as invested in their roles as the journalists they were portraying were in theirs.
The film is nominated for Best Picture and honestly, I wouldn’t be upset if it won. It’s not a special effects marvel like The Revenant or Mad Max, but it does what it does perfectly and that is tell the story of one of the biggest scandals of the last couple hundred years. It’s a haunting film that stuck with me for a while after I saw it and will hopefully shed a little more light on the church. My journalism path may be on hold, but I’m happy there was a film this year dedicated to the craft of reporting stories that aren’t getting any light.
4.5/5
