NonP
Legend
So Spotlight did meet my expectations, and if that sounds like damning with faint praise, it is. My main beef with most of these historically based films, including taut dramas like Spotlight, is that they just seem too little, too late. It's been more than a decade since the eponymous Boston Globe team's earthshaking exposé of the Catholic Church's systematic cover-up of its child molestation cases. Is the world in such dire need of a rehash of this admittedly important story a dozen years after the fact?
One might argue that the Church's guarded response to the film is indeed testimony to its current relevance, and I can stomach part of that reasoning as I remember searching Catholic News Service's movie reviews and being unable to find the one on Spotlight some time after its US release. (For the record the review now appears on the website, but if it was indeed posted on 11/9/2015, a mere three days after its release date, either my memory is seriously faulty or I really need to sharpen my Web browsing skills.) At the same time the Church representatives now clearly admit that the institution committed egregious wrongs against the most innocent members of our society. If that's the case then why not focus on a host of issues with more bearing on the present? If the filmmakers (and here I use the term in the broadest sense) truly cared about justice for the victims wouldn't it have been better to explore why so many priests remain to be investigated for their alleged crimes, and why so many of those who failed to pass scrutiny are still shielded from being tried in their own jurisdiction?
On a more dramaturgical note, Spotlight boasts such a top-notch cast you wish even more that their talents had been put to better use. Mark Ruffalo has received well-deserved kudos for his emotive performance as the dogged Michael Rezendes, but I was more impressed by Rachel McAdams' Sacha Pfeiffer, who juggles a difficult mixture of feminine sympathy (hers is a very much stereotypical role) and simmering righteous anger with aplomb. I'm glad both are in the Oscar race for Best Supporting Actor/Actress, but I can't give the Academy too much credit when Michael Keaton gets shafted for the second year running without even an nomination this time while DiCaprio's bombastic declamation and Damon's smart-aleck schtick continue to wow the impressionable voters. Among the film's other unsung players is composer Howard Shore, who contributes a suitably understated soundtrack to the unfolding drama of neglect, cowardice, turmoil, perseverance and triumph. (Among the 2015 contenders I'd probably rate Shore's effort second only to Carter Burwell's ravishing score for Carol.)
Will try to post capsule reviews of the short films later this week, followed by my final 2015 picks.
One might argue that the Church's guarded response to the film is indeed testimony to its current relevance, and I can stomach part of that reasoning as I remember searching Catholic News Service's movie reviews and being unable to find the one on Spotlight some time after its US release. (For the record the review now appears on the website, but if it was indeed posted on 11/9/2015, a mere three days after its release date, either my memory is seriously faulty or I really need to sharpen my Web browsing skills.) At the same time the Church representatives now clearly admit that the institution committed egregious wrongs against the most innocent members of our society. If that's the case then why not focus on a host of issues with more bearing on the present? If the filmmakers (and here I use the term in the broadest sense) truly cared about justice for the victims wouldn't it have been better to explore why so many priests remain to be investigated for their alleged crimes, and why so many of those who failed to pass scrutiny are still shielded from being tried in their own jurisdiction?
On a more dramaturgical note, Spotlight boasts such a top-notch cast you wish even more that their talents had been put to better use. Mark Ruffalo has received well-deserved kudos for his emotive performance as the dogged Michael Rezendes, but I was more impressed by Rachel McAdams' Sacha Pfeiffer, who juggles a difficult mixture of feminine sympathy (hers is a very much stereotypical role) and simmering righteous anger with aplomb. I'm glad both are in the Oscar race for Best Supporting Actor/Actress, but I can't give the Academy too much credit when Michael Keaton gets shafted for the second year running without even an nomination this time while DiCaprio's bombastic declamation and Damon's smart-aleck schtick continue to wow the impressionable voters. Among the film's other unsung players is composer Howard Shore, who contributes a suitably understated soundtrack to the unfolding drama of neglect, cowardice, turmoil, perseverance and triumph. (Among the 2015 contenders I'd probably rate Shore's effort second only to Carter Burwell's ravishing score for Carol.)
Will try to post capsule reviews of the short films later this week, followed by my final 2015 picks.