Spotlighting Journalism

Rating: 10/10 (12 November 2016)

"Spotlight" shines a light on the soul and soullessness of journalism.
There is a scene in "Spotlight" where one of the lead characters who is investigating the child sexual abuse in the Boston Catholic Church admits to having received information about the abuse years earlier and didn't do anything about it. He admits this failure to his colleagues, and there is some shock and understanding, but it is forgiven quickly. There are victims who scream at the Boston Globe: "I sent you all of this before!" And, the reporters stare blankly back at them not knowing what to say. These scenes are emblematic of how well "Spotlight" depicts the level of the news media's own failures as it points out the failures in others. Life is about choices, and news professionals make choices based on conscious and subconscious bias every day that readers or viewers may not see or understand. (News media bias is a hobby of mine. I am a co-author with UCLA Political Science Professor John Zaller on this subject in academic journals, including a book.)
Writer/Director Tom McCarthy ("The Station Agent"; one of the writers of Pixar's "Up") makes the right choices in "Spotlight". Rather than take on too much, considering the victims, the families, the priests, the archdiocese, Mr. McCarthy selectively focuses the film's point of view exclusively from that of the Boston Globe reporters. Using this narrow a focus brought criticism from many, who sought to find more villains. One of the points that the film makes is that almost no one is blameless in the Boston area, because so many stood by and did nothing.
While the general knowledge of the abuse-scandal denies this film any surprises, Mr. McCarthy is still able to generate genuine interest in the characters as they uncover how the system of abuse worked and who gave the orders. An extraordinary cast is assembled. Mark Ruffalo ("Eternal Sunshine of the Spotless Mind"); Michael Keaton ("Batman"; "Birdman"); Rachel McAdams ("Midnight in Paris"; "The Family Stone"); and Stanley Tucci ("The Devil Wears Prada"; "Road to Perdition") shine in particular.
The film is tightly edited, yet none of the scenes felt rushed, and the cinematography is carefully inconspicuous so the story is allowed to play out on screen very clearly. Howard Shore's score is pitch perfect as usual.
In the end, I found this film to be worthy Best Picture winner, and I strongly recommend it to your attention.