SPOTLIGHT is Going to Win the Academy Award for Best Picture

At the end of September, I saw the trailer for Spotlight and predicted it was going to win the Best Picture Oscar. I'm not alone; the buzz around the film is that it's a top contender, or at least one of them. I've been watching out for the movie to see if its buzz can be maintained. How many times have we seen "surefire" winners flame out before December (remember when we thought Inside Llewyn Davis was a major player?). But the critical reception for Spotlight is still strong after its limited release last week. Having seen the film, I can tell you: it's out of this world.

Spotlight comes to us from low-key but skilled director Tom McCarthy (The Station Agent, Win Win), from a screenplay by McCarthy and Josh Singer (Fringe). The film stars Oscar nominee Michael Keaton (Birdman), Oscar nominee Mark Ruffalo (The Kids Are All Right), Rachel McAdams (Midnight in Paris), Liev Schreiber (Ray Donovan), John Slattery (Mad Men), and Brian D'Arcy James (Game Change). The film co-stars Oscar nominee Stanley Tucci (The Lovely Bones), Jamey Sheridan (Homeland), and Billy Crudup (Watchmen). Japanese cinematographer Masanobu Takayanagi (Silver Linings Playbook) shot the film, with editing by longtime Tom McCarthy collaborator Tom McArdle and score by the Oscar winning composer Howard Shore (Lord of the Rings trilogy).

When Jewish editor Marty Baron (Schreiber) comes in from Miami and starts his new job at the Boston Globe, he picks up on a column about allegations of sexual abuse within the archdiocese of Boston. Under the supervision of editor Ben Bradlee Jr. (Slattery), the Globe's "Spotlight" team including Walter Robinson (Keaton), Mike Rezendes (Ruffalo), Sacha Pfieffer (McAdams), and Matt Carroll (D'Arcy James) starts to investigate the story piece by piece. With the help of survivor Phil Saviano (Neal Huff, Moonrise Kingdom) and prickly but passionate lawyer Mitchell Garabedian (Tucci), the team starts to uncover how far the abuse was covered up and hushed by the Catholic Church.

In general, I like procedural films. Watching people doing their jobs well, investigating, researching, discussing, and fighting for justice is absolutely thrilling for me. The film is absolutely riveting, as the journalists uncover the shocking and horrible truths that were hidden by the men and women in power. The subject matter--sexual abuse within the Church--is inherently heart-rending, as is any story about innocents suffering. Much like my experience watching Steven Spielberg's Bridge of Spies, I am incredibly moved by good people doing the honorable thing. Spotlight handles its subject matter with compassion, intelligence and sensitivity. I can imagine a more "sensational" take on the story, one that cashes in on easy drama. Spotlight, however, maintains the integrity and dignity of those involved, giving a voice to the unheard and visibility to the unseen.

Tom McCarthy is not a flashy director. But his films are deceptively sophisticated and beautiful. While the historical importance of Spotlight threatens to take over the visual palette, McCarthy does create a running theme of journalist adaptability. McCarthy shoots his characters in all sorts of locations including homes, libraries, bars, coffee shops, offices, parks, and cars where they are constantly working. There is an incredible montage where he cuts to all the characters reading and researching in different places. The locations in the movie are shot with a no-nonsense lens. This film is about work, the painstaking work that comes with uncovering a major scandal. 

Some of the best scenes involve the Spotlight team interviewing victims. These scenes (including a beautifully edited sequence where Sacha Pfieffer and Mike Rezendes are cross-cut conducting two separate interviews), really allow for the horrific repetition of abuse. One thing I found interesting is that McCarthy and Josh Singer's script never lionizes the Spotlight team at the expense of the victims and survivors. Of course, their work was important and they were exceptionally brave and altruistic in their pursuit of justice. But Spotlight retains the spotlight on the people who need it most.

One issue I have with the film is that the beginning of the film is a little too deliberately paced. On its own that's fine; I am sure it took a while for the investigation to gain some momentum in real life. However, the end of the film feels rushed to me. I wanted to see a few more scenes of the actual writing of the article or maybe some of the public reaction. The films ends with a powerful image, however it almost ends too soon.

Performance-wise, this is a strong film. Michael Keaton's love for the city of Boston, Mark Ruffalo's strong passion for justice, Rachel McAdams' compassion and empathy, and Brian D'Arcy James' diligence and sense of humor really make the Spotlight team a well-oiled complementary ream. They are terrific to watch as they work together. Liev Schreiber also turns in a strong performance. Stanley Tucci is equally impressive as the dogged attorney for the victims. The supporting cast features a large number of character actors who really disappear into the film; Spotlight's ensemble is finely tuned.

I can declare that Spotlight is one of the top films of the year. Emotionally resonant, delicately crafted, and riveting, this journalism drama makes good on its promise to tell this awful story with respect and dignity. I'm almost 100% sure that it will be a major Oscar contender. Here are the nominations I think Spotlight should get: Best Picture, Director, Original Screenplay, Supporting Actor for Michael Keaton and/or Mark  Ruffalo (all the actors are campaigning for supporting), Cinematography, Costume Design, Editing, maybe as a long shot Supporting Actress for Rachel McAdams, and Original Score.With the entire cast campaigning for Supporting Actor, there's always danger that there will be a split vote, except for lone female Rachel McAdams. But it makes sense, since the ensemble works together seamlessly.

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