Spotlight [Blu-ray]

𝑻𝒉𝒆𝒚 𝒌𝒏𝒆𝒘 𝒂𝒏𝒅 𝒕𝒉𝒆𝒚 𝒍𝒆𝒕 𝒊𝒕 𝒉𝒂𝒑𝒑𝒆𝒏!𝑰𝒕 𝒄𝒐𝒖𝒍𝒅 𝒉𝒂𝒗𝒆 𝒃𝒆𝒆𝒏 𝒚𝒐𝒖,𝒊𝒕 𝒄𝒐𝒖𝒍𝒅 𝒉𝒂𝒗𝒆 𝒃𝒆𝒆𝒏 𝒎𝒆,𝒊𝒕 𝒄𝒐𝒖𝒍𝒅 𝒉𝒂𝒗𝒆 𝒃𝒆𝒆𝒏 𝒂𝒏𝒚 𝒐𝒇 𝒖𝒔!The topic of child sexual abuse by Roman Catholic priests in the United States was first formally publicized in 1985 when a Louisiana priest pleaded guilty to 11 counts of molestation of young boys.A study conducted by the John Jay College of Criminal Justice )which analyzed these allegations of sexual abuse from 1950 to 2002) indicated that over this span of time 11,000 allegations had been made against 4,390 priests (which is approximately 4% of these priests) in the United States.To read this report and its subsequent findings please refer to this link:https://www.bishop-accountability.org/reports/2004_02_27_JohnJay/index.htmlSpotlight is a 2015 American biographical drama film directed by Tom McCarthy and written by McCarthy and Josh Singer. It film follows The Boston Globe's "Spotlight" team, the oldest continuously operating newspaper investigative journalist unit in the United States, and its investigation into cases of widespread and systemic child sex abuse in the Boston area by numerous Roman Catholic priests. It is based on a series of stories by the Spotlight team that earned The Globe the 2003 Pulitzer Prize for Public Service. The film features an ensemble cast including Mark Ruffalo, Michael Keaton, Rachel McAdams, John Slattery, and Stanley Tucci, with Brian d'Arcy James, Liev Schreiber, and Billy Crudup in supporting roles.Covering the span of approximately 30 years worth of interactions ‘Spotlight’ is in the perfect position to be considerably incomprehensible; with the exception of some dialogue centered around name drops (𝒘𝒉𝒊𝒄𝒉 𝒊𝒔 𝒎𝒚 𝒂𝒓𝒄𝒉 𝒏𝒆𝒎𝒆𝒔𝒊𝒔 🙄) and those in which characters are expected to read between the lines Singer and McCarthys’ writing and direction makes for an investigation that is gripping and easily digested. Still a tough pill to swallow regardless: there is a deeply intimate intermingling of elements throughout that threatens convolution, but the networks of communication and their subsequent influence on the main conflict are maintained as priorities. At times there are characteristics that seem persistently internalized (like motivation), the lack of cognizance in these regards doesn’t distract from the bigger picture at hand.In preparation for their specific roles both Keaton and Ruffalo met with their real life counterparts (Walter Robinson and Michael Rezendes, respectively). The interviews conducted between them happened over the course of several months (with both Robinson and Resendez often on set) and involved lengthy attempts at replicating and adapting their various patterns of behavior (including vocal patterns!). Their subsequent representations on-screen were reacted to approvingly and they went as far as separately agreeing that watching Ruffalo and Keaton was “like looking into a mirror”. What's most impressive is the humbling dramatization of their performances and the fact that they remain statically dignifying: they never rise above the seriousness of the enclosed subject matter while still packing a punch. As equally important is the presence of those representing victims interviewed - with Jimmy LeBlanc being an actual survival of clergy abuse- and the extent at which they deliver dialogue that is both tear worthy and contextually insightful.Due to the fidelity to its subject matter and commitment to authenticity this is the first movie to win the prestige of a Veritas Award. This devotion goes above and beyond flashy aesthetics and gritty screenplay through the use of reporters (including those from 𝑻𝒉𝒆 𝑮𝒍𝒐𝒃𝒆 itself) being regularly referred to for their input regarding artistic and alternatively pragmatic related decisions. As a result of this sensitive pieces of information are leafed through, but they're parsimonious summaries are executed without sacrificing the overarching integrity of ‘Spotlight’ as a whole. It is worth noting that some characters have been noted as being misrepresented (like Paquin’s openness to admitting to abusing anybody being exaggerated and happening much earlier than it did in real life), but these alterations elaborate on the systematic nature of this investigation and the enormity of roadblocks compromising its success.Me? I have no way of personally connecting to scandals regarding sexual abuse happening within the context of a religious institution, but ‘Spotlight’ makes no presumptions about its audience to the point of apathy or indifference. This certainly isn't the most exciting watch, but it's expertly crafted, expertly researched, and expertly contained.Above all else: any film tackling a culture of silence in this regard has my utmost gratitude, and the Vatican recently announcing the appointment of a tribunal in an attempt to hold accused Bishops accountable speaks to the transformative nature of films like this that are often hiding in plain sight.For those of you out there struggling with this form of exploitation I always like to explicitly say that I am here for you.That I don't need to live your truth to enthusiastically engage with it.That your truth is always worth listening to: I guarantee thatFor anyone interested in knowing more about clergy abuse and to anyone that needs to file a report please refer to the following resources as necessary:https://www.camdendiocese.org/clergysexabuseresources/https://reportbishopabuse.org/

I was very reluctant to see this movie. As a Catholic, I didn't want to watch the movie that looked like a harsh indictment on the Church. It was only after reading how other Catholics responded to this movie that I decided to see it. I haven't stopped watching it since.Spotlight chronicles the eponymous investigation team at the Boston Globe as they go deep investigating sexual abuse within the Catholic Church starting with the Geoghan case in 1998. While Geoghan was laicized and later imprisoned, it soon became clear that he wasn't the only one. The team, led by Walter "Robby" Robinson (Michael Keaton), interviews victims and even a couple of former priests to figure out just how big and how deep this really went while figuring out just how responsible the newspaper was in the past.While there are definitely some negative depictions of the Church in this film, the movie succeeds where most biopics or true-story films have failed: maintaining objectivity with the subject matter. Tom McCarthy directed this film with sharp realism and surprising delicacy. There is no real bias, no BS in this film. The Church and the town constantly try to cover it up, but the Globe discovers that they aren't exactly innocent, either. His script and his directing style prevent any harshness even if the story seems to call for it. It's brutally honest with the details; two victims tell their stories that just left my jaw hanging as they continued. It was a tough pill for me to swallow; that such corruption would exist within the organization, that Satan would claw his way into supposed teachers and followers of Christ. The script also manages to grip you in many of its scenes, such as when Mitchell Garabeedian (Stanley Tucci) gives Michael Rezendes(Mark Ruffalo) an off-the-record tip to get the Globe the information it needs. The script holds few lines that truly stand out, with Stanley Tucci claiming almost all of them, but it's strong in its subtlety as is the ensemble.The only performances that truly stood out for me were those of Ruffalo and Tucci, and that's perfectly okay with me. Mark Ruffalo, no matter how crazy his views are in real life, always gives a performance better than the last. His Rezendes is no exception. He dominates in a couple of scenes, starting off as a punk but later evolving into a totally sympathetic character. The scene where he talks to Sasha Pfeiffer (Rachel McAdams) after his outburst hits you in a way you never thought possible. Tucci as the ever-interesting Garabeedian benefits from a solidly-written character, having the best lines and the best presence. That being said, they weren't the only ones. Each member has a very defined character: Michal Keaton as the ambitious and steadfast leader, Rachel McAdams as the counseling detective, Mark Ruffalo as the bitter punk, and Brian D'Arcy Adams as the concerned parent. As a whole, the ensemble is what really makes the movie strong as opposed to just the story or the script. It is in the subtlety and realism of the performances that really make the movie as a whole damn near impeccable.This is an important film, not because of the subject matter, but because of how it was made. Tom McCarthy's direction and script, a solid ensemble, and surprisingly objective storytelling make this the best investigate journalism film since David Fincher's Zodiac.P.S. I was thoroughly surprised and happy this won Best Picture.

The first thing that must be said about this movie: Thank God for the First Amendment and for the Fourth Estate. I am so grateful to the hard-working journalists who have brought these stories about clerical sexual abuse to light in Boston and all the other places.Second, what a brilliant film. Tight script with incredible acting by so many, including Ruffalo (who normally annoys me in other roles), Keaton (who is just amazing in this), McAdams, Schreiber, Tucci, and Slattery. Deserving of the awards it won at the Oscars for best picture and best screenplay. Would have been deserving for some actors to win too for their roles in this, but I realize those awards are not given in a vacuum--many other good competitors from other films. Nice score. And the costumes are beautiful.I like how it shows the real work of writing an investigative story. Just regular people in a certain way doing their job well--working on a hunch, working sources, solving problems together, making judgment calls.If you are looking for a film to watch right now, look no further--you have gold in your hands. An excellent, fun, important film.