And No "i" Was Left Dotted

Rating: 7/10 (4 December 2015)

Spotlight has immediately jumped to the forefront of the Best Picture race. Who could have possibly expected otherwise? Late November biopic, relevant topic with just enough controversy, last year's best actor winner Michael Keaton, Spotlight is certainly a perfect storm. On paper. In actuality, we got something messier, less refined. Spotlight lives to expectations, but is fraught with non-stand decisions. Whether these deviations were effective or not is unclear. Be warned, Spotlight strives for uncertainty rather than emotional fulfillment.
Let me clarify via contrast. Argo is comparable in its Oscar-baitness, but opposite in decision making. The best picture 2012 dotted its "I"s and crossed its "T"s so thoroughly it was practically shameless. Absolutely not groundbreaking, but a solid film nevertheless. Spotlight is deviatory, although not in a pretentious way. There is no central protagonist. The narrative is frayed with loose ends. Most importantly, Spotlight denies basic expectations. This is not criticism, but calling the film well-made or rewarding bonus points for being on the right side of an issue this easy is not productive. My first claim might be the most controversial. It conflicts with the broader Keaton reborn star spin. There are multiple scenes observed from the perspective of alternate character while Walter Robinson (Keaton) simply exists in the background. Often Robinson defers to his assistant and lets her do the talking. There is a historical connection that is not explored. Keaton is effective, but what a bizarre way to use his abilities. Ruffalo as Rezendes, despite top billing, is also not the central focus. I love the acting with his hands, but these are not the mannerism of a protagonist, nor is his arc. This does create more space for the story, but I am unconvinced it is fully used. This is a procedural, but it is certainly not wrought with technical detail. Plot threads are completely abandoned. There is an extremely mesmerizing sequence were a priest offhandedly confesses. Keaton's character literally promises to return to this topic, but fails to. Rufflao has late night meetings that go nowhere. I half expected a greater conspiracy to be afoot from interactions I could only interpret as cryptic hints. Maybe this is a personal failing. Maybe this is a method of supporting the thesis of ambiguity. Maybe this is Spotlights' failing. This effect never creates frustration, but it can be distracting. The ending is also perfectly in line with this motif. The finale barely exists despite the constant building tension. A message: the struggle continues, is unarguably in touch with reality. Just not as satisfying.
Once again I catch myself being overly critical. High expectations and all. Spotlight demands and receives your investment. I could not imagine anyone possibly responding with indifference. What a gut wrenching tales. If this film has flaws, they are hard to pin down. One of the best if the year.
But it would be a subpar year if it was THE best.