In 2001, editor Marty Baron of The Boston Globe assigns a team of journalists to investigate allegations against John Geoghan, an unfrocked priest accused of molesting more than 80 boys. Led by editor Walter "Robby" Robinson (Michael Keaton), reporters Michael Rezendes (Mark Ruffalo), Matt Carroll and Sacha Pfeiffer interview...more
In 2001, editor Marty Baron of The Boston Globe assigns a team of journalists to investigate allegations against John Geoghan, an unfrocked priest accused of molesting more than 80 boys. Led by editor Walter "Robby" Robinson (Michael Keaton), reporters Michael Rezendes (Mark Ruffalo), Matt Carroll and Sacha Pfeiffer interview victims and try to unseal sensitive documents. The reporters make it their mission to provide proof of a cover-up of sexual abuse within the Roman Catholic Church. less
“An undeterred narration of real events, Spotlight will you gripped throughout.”
The best part about the undeviating reciting of Spotlight’s screenplay is its abstaining from pretence, heroism and amplification of realism. You sense you’re in for a watch that offers everything out of your realm, yet it grows over you to further validate how strong a point it is making. An understandably sensitive run of true events that filmmaker Tom McCarthy along with co-writer Josh Singer have uprooted, are brought to screen with absolute perfection.
Spotlight is an investigative wing in one of the top newspapers in Boston. A bunch of four reporters (Mark Ruffalo, Rachael McAdams, Brian d'Arcy James and headed by Michael Keaton) dedicates itself to a subject their new editor has assigned them to in 2001. The crew initiates its own journalistic investigation of an aged unnoticed concern about a priest sexually molesting kids. Digging deeper into the dark, they discover astonishing realities about the Catholic Church and cardinal law’s shaky dealing with it. Undeterred by revelations, Spotlight doesn’t run after glory, but insists on taking it to a fruitful conclusion. The thorough exploration of these guys on the subject is alone the worth of your time and money.
Layered under so many gratifying aspects of narration, what makes Spotlight a winner is its ability to grip you over right from the start. McCarthy, who we know by his Academy nomination, has so effectively laid the flow that it’s almost impossible to miss a frame. The underlining message of its premise is ugly and is still able to connect you with it. You are intrigued by its fast unwrapping and end up feeling the very emotion the film set out for in the beginning. Not only does it delicately handle the subject, at no point of time it gets offensive, rude or too aggressive.
Taking us back to the times when print journalism was our prime stool pigeon, Spotlight is all about the true essence of journalistic approach and its core existence. Tagged along with spectacular background score and comforting cinematography, the film is an ode to all reporters who in their lives have carried out investigations. Tom McCarthy and Josh Singer deserve full credits for that. Mark Ruffalo is marvellous with his vigilant performance and is equally challenged by the very amusing Rachael McAdams. Although it is Michael Keaton who I felt was best of the lot.
At a time when journalism has restricted itself to loud news hour slogans and selective outrage, Spotlight takes you where the roots of real reporting are buried. The film is a winner, we’ll wait what happens at the Oscars.