Oscars 2016 Predictions

I couldn’t be less enthused about Oscars this year. What with an insipid bunch of nominees, the raging racism controversy and the fact that Chris Rock is hosting this year. Bring back Seth McFarland!!! But then the realisation that it is the 3rd anniversary of the blog hit me and a friend asking where my predictions were, I guess I will give this a shot with the hope that next year there are more daring movies and nominees feature a diverse group of performers, age and race notwithstanding. So here we go ladies and gentlemen get your Oscar Fever On!!

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Best Actress in a supporting role:

Jennifer Jason Leigh, The Hateful Eight

Rooney Mara, Carol

Rachel McAdams, Spotlight

Alicia Vikander, The Danish Girl

Kate Winslet, Steve Jobs

 

This is a tough one to choose from. I loved the return of Rachel McAdams to meaningful cinema and what an understated and respectful performance she delivered in Spotlight. Rooney Mara was the only bright light for me in all the pretentiousness that enveloped Carol. But the clear battle is between Vikander and Winslet.

Who should win: Alicia Vikander, her portrayal as Gerda is stellar. Her vulnerability and poise as her husband undergoes a transformation is heart-breaking. But this is not a showy performance that Oscar seems to prefer and with the results of all the previous awards going against her, chances are she won’t win but then again Winslet is a previous winner.

Who will win: Kate Winslet as Joanna Hoffman is the perfect foil to Fassbender’s Steve Jobs. Winslet really makes this role her own by infusing an emotional anchor to story. Regardless of what people accuse Sorkin of I think he writes some of the best female characters around – CJ, Makenzie and Sloane and now Joanna Hoffman. I wouldn’t be terribly disappointed if she wins.

 

Best Actor in a supporting role:

Christian Bale, The Big Short

Tom Hardy, The Revenant

Mark Ruffalo, Spotlight

Mark Rylance, Bridge of Spies

Sylvester Stallone, Creed

 

Bale, Hardy and Ruffalo deliver very strong performances two of which could easily have been leading had it not been an ensemble drama with equally strong performances from other actors. I loved Tom Hardy as the villainous John Fitzgerald and was cheering on Glass to finish off the despicable character that Fitzgerald was – that is how good Hardy is. But this is Bale’s to lose.

Who Should/Will Win: Christian Bale is brilliant as the eccentric genius who discovers the impending housing market crash and the subsequent meltdown of the global economy in The Big Short. Christian Bale is one of the best method actors working today and the range he displays in picking the roles and the physical and physiological transformation he undergoes to become the said character is second to none. It would be a crying shame if he doesn’t win this. And it goes to Sylvester Stallone as some sort of a consolation prize.

 

Best Animated Feature:

Anomalisa

Boy and the World

Inside Out

Shaun the Sheep Movie

When Marnie Was There

 

AKA the Pixar award. And with Inside Out, Pixar has equalled the heights of technical ingenuity coupled with a strong emotional core that it did with the likes of Ratatouille, Wall-E and Up!

Who should/will win: Inside Out

 

Best Cinematography:

Carol

The Hateful Eight

Mad Max: Fury Road

The Revenant

Sicario

 

It could be a Hat-trick for Emmanuel Lubezki this year with The Revenant following Gravity and Bridman. Lubezki is reaching Roger Deakins (who is also nominated for a record 13th time without a win) level of awesomeness when it comes to framing the most gorgeous shots that create the most immersive experience for an audience. Even if they simply put his name on the top of the playbill I would queue up to watch the movie first day first show regardless of the actor or director of the story and his work in The Revenant is better than Birdman and almost as good and in many aspects better than Gravity. But what John Seale has achieved in Mad Max Fury Road is simply superior to anything else in this category. His visuals match the madness of George Miller’s beat for beat and in fact sometimes the visuals are the ones that set the pace for this insane adrenaline fuelled caper. I get a head rush just thinking of the visuals in Mad Max and I will lose my voice swearing if they don’t give this to Seale who came out of retirement to shot this thing of beauty!

Who should win: John Seale

Who may Win: Deakins because he is always good and he is long overdue? Lubezki because he is good and a three-peat would be interesting trivia? Who knows! I want Seale to win.

 

Visual Effects:

Ex Machina

Mad Max: Fury Road

The Martian

The Revenant

Star Wars: The Force Awakens

 

Ex Machina was excellent as was The Martian in making us believe we were seeing a real-life AI and the Martian landscape. But this one has Mad Max written all over it. The most spectacular use of Visual effects which kept the Computer generated effects to minimum by having practical stunts.

Who should/will win: Mad Max Fury Road

 

Documentary Feature:

Amy

Cartel Land

The Look of Silence

What Happened, Miss Simone?

Winter on Fire: Ukraine’s Fight for Freedom

 

Unfortunately I haven’t been able to watch any of the documentary features this year. I wanted to watch Amy very badly because I loved Amy Winehouse. If I was picking based on what I wanted to watch then it would be Amy but based on the fact that Joshua Oppenheimer was nominated and didn’t win for The Act of Killing which was the companion piece to The look of Silence based on the killings in Indonesia in the 1950s and the current political mood in the western hemisphere towards Putin’s aggression, Winter on Fire could sneak in a surprise.

Who should win: Amy

Who will win: Winter on Fire

 

Foreign Language Film:

Embrace of the Serpent

Mustang

Son of Saul

Theeb

A War

 

A harrowing tale set in the holocaust concentration camp of Auschwitz telling the tale of a SonderKommando who believes that the body he was supposed to cremate is allegedly that of his son and tries everything in his power to get a proper Jewish burial for him which includes a prison riot and escape from Auschwitz seems impossible to beat. Son of Saul is my pick for the best Foreign Language Film

Who should/will win: Son of Saul

 

Sound Editing

Mad Max: Fury Road

The Martian

The Revenant

Sicario

Star Wars: The Force Awakens

Sound Mixing

Bridge of Spies

Mad Max: Fury Road

The Martian

The Revenant

Star Wars: The Force Awakens

 

This category continues to confuse me! When you already have a category for Best Original Score what exactly is the point of this. But taking from the analogy from last year where good sound ingredients comprise Sound Editing and the proper cooking method being Sound Mixing let’s look at this.

Who should win Sound Mixing/Editing: Mad Max : Fury Road

Who will win Sound Mixing/Editing: The Revenant

 

Original Score:

Bridge of Spies

Carol

The Hateful Eight

Sicario

Star Wars: The Force Awakens

 

I would love for Jóhann Jóhannsson to win because he deserved to win last year for the Theory of Everything and the music for Sicario is stunning. But with stalwarts like John Williams and Ennio Morricone this one is up in the air.

Who should win: Sicario Jóhann Jóhannsson.

Who will win: Star Wars: The Force Awakens John Williams./Ennio Morricone The Hateful Eight

 

Original Song:

“Earned It,” Fifty Shades of Grey

“Manta Ray,” Racing Extinction

“Simple Song #3,” Youth

“Til It Happens To You,” The Hunting Ground

“Writing’s On The Wall,” Spectre

After the performances like Skyfall by Adele, Let it go by Idna Menzel and Glory by John Legend and Common from previous years I am pretty sure this is Lady Gaga’s to take home. Until I went over the nominations I wasn’t even aware that the video that Gaga released was part of a documentary. I hope Gaga has a stellar performance in an otherwise drab Oscar ceremony. Also given the circumstances around Cosby this song is Hollywood’s way of apologising.

Who should/will win: Lady Gaga “’Til It Happens To You”

 

Film Editing:

The Big Short

Mad Max: Fury Road

The Revenant

Spotlight

Star Wars: The Force Awakens

 

With the exception of Star Wars I have seen all 4 and loved each one with a varying degree with respect to its pacing and overall coherence of storytelling. I found The Revenant a bit too long and unnecessary in places other than to see Lubezki’s beautiful frames. Spotlight lacked a sense of urgency that a story like this needed. Mad Max and The Big Short were the most perfectly paced movies. I really cannot pick and winner between the two

Who should win: Mad Max Fury Road

Who will win: The Big Short

 

Original Screenplay:

Bridge of Spies

Ex Machina

Inside Out

Spotlight

Straight Outta Compton

 

This category was the butt of many #YoOscarsSoWhite jokes because the only movie representative of the African American culture that got nominated for anything was Straight Outta Compton for Best Original Screenplay and here too the people who were nominated were white folks. I am torn between Ex Machina and Inside Out but given that this is the Oscars I am pretty sure it is going to be Spotlight.

Who should win: Ex Machina/Inside Out

Who will win: Spotlight.

 

Adapted Screenplay:

The Big Short

Brooklyn

Carol

The Martian

Room

 

I would love nothing more than for The Big Short to win every award it is nominated for. But The Martian was pretty special too and more than anything else it was the humorous source material which many told me it was impossible to adapt.

Who should win: The Martian

Who will win: The Big Short.

 

Director:

The Big Short

Mad Max: Fury Road

The Revenant

Room

Spotlight

 

Now this is a seriously good group of nominations and it would have been only better had Ridley Scott been included for The Martian. I really really hope that Iñárritu doesn’t win for The Revenant which while a beautiful movie is poorly edited and is more akin to Babel than Birdman. A lot of pretentious cerebral imagery and not enough story. For me it is between George Miller and Adam McKay and I would be happy if either of them won

Who should win: Adam McKay

Who will win: George Miller

 

Actress in Leading role:

Cate Blanchett, Carol

Brie Larson, Room

Jennifer Lawrence, Joy

Charlotte Rampling, 45 Years

Saoirse Ronan, Brooklyn

 

Cate Blanchett should not have been nominated for Carol. I love my some Queen Cate but Carol wasn’t a strong enough movie that needed to be nominated – not dismissing the importance of the story and era in which it is set but it is not a strong enough movie. Jennifer Lawrence is a fine actress but she seems to be nominated for everything she does no matter how bad the movie is. And I still hold her winning for Silver Linings Playbook over Jessica Chastain’s Maya in Zero Dark thirty against her. Brie Larson has quietly been carving out a niche for herself with a stellar performance in Short Term 12 and with Room her performance supported superbly by little Jacob Tremblay is surprisingly uplifting in a story that is anything but that. I cannot imagine anyone being able to deny Larson this win.

Who should/will win: Brie Larson

 

Actor in Leading role:

Bryan Cranston, Trumbo

Matt Damon, The Martian

Leonardo DiCaprio, The Revenant

Michael Fassbender, Steve Jobs

Eddie Redmayne, The Danish Girl

 

Loved Eddie Redmayne and Matt Damon but they are not going to win this year. Michael Fassbender was spectacular as Steve jobs with a performance that cannot be bettered. There are going to be to future biopics on the Apple founder because Fassbender gave the defining performance that cannot be bettered. I have loved and championed Leonardo Dicaprio for a number of years and been upset when he didn’t win and with The Revenant he is almost assured the little golden man that has eluded him for so long. Does he deserve it? Definitely but I would rather that he have won for The Aviator, The Departed and Blood Diamond instead.

Who should/will win: Leonardo Dicaprio

 

Best Film

The Big Short

Bridge of Spies

Brooklyn

Mad Max: Fury Road

The Martian

The Revenant

Room

Spotlight

To me this is what the final shortlist of best movies looks like

The Big Short: A Satirical look at the inner mechanics of what happened with the 2008 sub-prime and banking crisis with an amazing turn by the very talented ensemble. This is a very important story not only because it tells us what happened but also because it is only a precursor of things to come because no real corrective actions were taken.

Mad Max: Fury Road: An intense, adrenaline fuelled adventure caper which masterfully married feudalism and freedom struggle without getting preachy. It has the best visuals with practical stunts which cannot be beat.

The Martian: A funny take on the sci-fi genre that makes it accessible to a larger audience. A nuanced performance by Matt Damon and one hell of a story of the triumph of the human spirit against insurmountable odds.

Spotlight: A reminder of what power and responsibility the 4th estate wields and how important it is for them to take on the system and stand up for the little guy. A sensitive portrayal of a story that could have been forgiven a certain amount of histrionics if it tried but it stays clear of it and the end result is a thought provoking movie that does not demonize a religion but questions the power it wields.

Who should win: The big short or Mad Max: Fury Road

Who will win: Spotlight

Category Should Win Will Win
Best Picture The Big Short/Mad Max : Fury Road Spotlight
Best Director Adam McKay George Miller
Best Actor Leonardo Dicaprio Leonardo Dicaprio
Best Actress Brie Larson Brie Larson
Best Supporting Actor Christian Bale Christian Bale
Best Supporting Actress Alicia Vikander Kate Winslet
Best Writing – Original Screenplay Inside Out/Ex-Machina Spotlight
Best Writing – Adapted Screenplay The Martian The Big Short
Best Animated Feature Film Inside Out Inside Out
Best Foreign Language Film Son of Saul Son of Saul
Best Documentary – Feature Amy Winter on fire
Best Documentary – Short Subject Body Team 12
Best Live Action Short Film Shok
Best Animated Short Film Sanjay’s Super Team
Best Original Score Sicario Star Wars/The Hateful Eight
Best Original Song Lady Gaga – ‘Til it happens to you Lady Gaga – ‘Til it happens to you
Best Sound Editing Mad Max : Fury Road The Revenant
Best Sound Mixing Mad Max : Fury Road The Revenant
Best Production Design Mad Max : Fury Road Mad Max : Fury Road
Best Cinematography John Seale Mad Max: Fury Road Emmanuel Lubezki The Revenant/Roger Deakins Sicario
Best Makeup and Hairstyling Mad Max : Fury Road Mad Max : Fury Road
Best Costume Design Cinderella Mad Max : Fury Road
Best Film Editing Mad Max : Fury Road The Big Short
Best Visual Effects Mad Max : Fury Road Mad Max : Fury Road

So there you have it all my predictions for Oscars 2016. Leave a comment if you agree or disagree with my picks. Let me know your thoughts on Oscars in general and who you would have rather seen nominated. You can follow me on Twitter where I will be live-tweeting during the Oscar ceremony!

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Neerja – A Review

Ram Madhvani directs Sonam Kapoor in Neerja, a story based on the life of PanAm airlines air hostess Neerja Bhanot who risked her own life to save those of her passengers on the Hijacked flight 73 in 1986. As much as Sonam Kapoor would like to think of herself as a massively bankable star she deludes herself that all her blockbusters have been in spite of her and not because of. To have her headline such an important story seemed too risky an endeavour.

 

We are introduced to Rajesh Khanna loving Neerja as she walks into a boring old building society party with kids and middle aged adults and immediately infuses life into the party. This, her mother played by Shabana Azmi, tells us is quintessentially Neerja; the life of the party; her parents’ pride and joy and loved by kids and adults alike. This version of Sonam is believable and likeable unlike previous roles she has essayed. The family cocoon that is created around Neerja is also very believable, the worrying mother, the playfully quarrelling sibling and an adoring father who still regrets having pushed her into an arranged marriage that ended up being abusive. Once on the flight her effervescent personality seems just as genuine, as she looks after unaccompanied minors and puts them at ease. The ill-fated PanAm flight 73 from Mumbai to Frankfurt makes a scheduled stop at Karachi and is hijacked by Palestinian terrorists, Neerja relays the message that the flight has been hijacked while still on the tarmac to the pilots who following protocol evacuate the cockpit leaving the terrorists grounded. What follows is how Neerja tries to do everything in her power to comfort her passengers in a terrifying situation and how she loses her life while trying to protect them.

It is an incredible story told in the most respectful of ways. There are no histrionics or hyperbolic heroism just small acts of courage which ultimately were responsible for the 359 lives that were eventually saved. This is almost unlike a Bollywood movie and in a stark contrast to Airlift. There were so many moments when in the hands of a lesser director Sonam Kapoor could have had an outburst at the terrorist or said something sassy just because that is what Bollywood creative license allows, but you see the terror in her eyes and she cries like any person thrust in such a situation would and she tries to refer to the terrorists as Sir and appeal to their kindness to allow her to serve her passengers food and water. By juxtaposing flashbacks to her abusive life with the scenes of absolute terror Ram Madhvani has achieved success twofold. Firstly he gives us context to what prompted Neerja to act with the bravado that she did and also by showing us that an abusive relationship is no less than terrorism. One thing that clearly stuck out to me was the first time that Sonam is attacked by the terrorists the nozzle of the gun bangs against her teeth and upper lip and there is an audible sound. Towards the end of the movie you can see on her upper lip a bruised patch – it is small details like this which shows the audience how committed the cast and crew were to try and honestly retell an incredible story.

Sonam Kapoor is a revelation as Neerja Bhanot. She is beautiful no doubt but she is able to carry a sense of frivolity and joyfulness with an absolute ease. While at the same time when faced with a harrowing situation she is suitably terrified yet she manages to find an inner strength to ensure her passengers’ safety. Shabana Azmi is the emotional core of the movie. Azmi is tasked with the most emotionally potent scenes in the movie and yet she delivers them with such finesse that even while her audience is sobbing she manages to smile through tear filled eyes. All credit to dialogue writer Sanyukta Shaikh Chawla that never once does any character deliver a cringe worthy line, even when replaying dialogues from the Rajesh Khanna classic Anand the dialogues land the emotional sucker punch they are intended to. This two women tour de force is ably supported by Yogendra Tikku who plays Neerja’s father, music director Shekhar Ravijani who plays Neerja’s boyfriend Jaideep and the good cop-bad cop terrorists who I unfortunately can’t find names for to give them the credit due.

This almost flawless movie is nearly ruined by the schizophrenic camera work at the beginning of the movie, long before the hijack even happens. It makes no sense and it is headache inducing but few minutes into the movie it seems cinematographer Mitesh Mulchandani finally masters the art of a steady shot and it is smooth sailing from there on. Story writer Saiwyn Qadras and Editor Monisha Baldawa deserve special mention for a perfectly paced script that does not miss a beat throughout and a near perfect cut which has no flab or fluff. There is no jingoism in the name of patriotism, there are no larger than life heroes, just a girl who was doing her job and she did it brilliantly.

I remember the IC814 hijack but only had  anecdotal knowledge of Neerja Bhanot’s story when it was mentioned on news during the Kandahar hijacking but thanks to Ram Madhvani, Sonam Kapoor and Shabana Azmi this is a story I am unlikely to ever forget. What a beautiful and brave soul Neerja was and this story does her memory justice almost 30 years later. The girl who won the highest Indian Galantary award Ashok Chakra, the Tamgha-e-Insaniyat award for incredible human kindness by Pakistan, the flight safety foundation’s Heroism, Special Courage award by DoJ, USA. The Girl who didn’t live Long but Lived it Big. Salute.

 

Fitoor – A Review

Abhishek Kapoor directs Katrina Kaif, Aditya Roy Kapoor and Tabu in Fitoor, a story adapted by Supratik Sen from Charles Dickens’ The Great Expectations. Kapoor last adapted the Chetan Bhagat’s three mistakes of my life into the brilliant Kai Po Che and given what he milked out of a less than stellar source material the expectations would have been sky high given Dickens’ rich and fertile literary ground that Kapoor had to play with. Does Kapoor and team meet the great expectations or do they drift aimlessly into the abyss like an untethered kite? Read on to find out more.

Kapoor and Sen have stayed quiet true to the original, Aditya Roy Kapoor is Noor or Dickens’ Pip, Katrina is Firdaus, Estella in the original and Tabu is Hazrat Begum the eccentric Mrs. Haversham . Besides these three there are a lot of other characters from Dickens’ Novel that find themselves adapted into the Indian context in Fitoor.

When we first meet Noor and Firdaus we see a beautiful and ethereal Firdaus and an awestruck and an inadequate feeling Noor. Begum Hazrat sees the first inkling of puppy love in Noor’s eyes and seems to encourage it by asking him to come to the Mansion more often but then following the violence in the valley which kills Noor’s sister the Begum sends Firdaus away to London to study leaving Noor longing for her. Years later Noor a budding artist is given a scholarship from a mysterious benefactor who he assumes is the Begum herself.  Moving to Delhi Noor meets Firdaus and confesses his love which she rejects as she is set to be engaged to Bilal. This is the biggest departure from The Great Expectations because where in the novel we clearly see that Estella is cold and unloving, Firdaus is seemingly struggling to decide between Noor and Bilal. This is also where the story wobbles because it becomes about this love story more than the over-arching theme of growth of Pip/Noor.

Aditya Roy Kapoor who caused me incessant grief as the drunken mess in Yeh Jawani hai Deewani surprises with a restrained performance. He has intensity in his quiet demeanor that is perfect for this performance. Katrina Kaif as Firdaus is beautiful but fails to bring a sense of haughtiness that is essential for the character of Estella. Without the cool aloofness the climactic realization of love does not carry the same weight that it would have. Tabu as Begum Hazrat is exceptional. There is a sense of discomfort that you feel when you see her approach young Noor, there is a tragic beauty in her when you see her lie on her chaise smoking a hukka. Her demeanor and actions at the beginning of the story make sense when you are given the back story to her failed attempt at love. Hers is the best written character amongst the main three. Her penchant for wearing ostentatious jewelry only makes sense when you find out her back story.

It is rare that one would complain that a Bollywood movie needs to be longer. But that is exactly what was needed; at least another 30 minutes and the second half could have carried more weight than just stumbling to a satisfactory conclusion. As in the novel the guilt of Mrs. Haversham at manipulating Pip and Estella, the connections between Pip’s benefactor, Estella’s biological parents and Mrs. Haversham’s Fiancé who jilted her and how all of this ties back to Pip and the eventual reconciliation between Pip and Estella would have made for a more compelling second half than Kapoor and Sen manage with Fitoor. But it is not to be and we must judge Fitoor for what it is and in that it is a solid attempt at adapting a one of the most influential literary works which Kapoor manages to with a justifiable degree of success. The cinematography is gorgeous and the production value of the highest kind when it comes to Noor’s works of art. Buoyed by strong performances from Aditya Roy Kapoor and Tabu it is a very competent film that leaves you wanting more. While it lacks the intensity of Haider a Shakespearean adaptation also set in Kashmir Fitoor is not lacking in allegories. Maybe I read too much into the movie but I could definitely see an Indo-Pak-Kashmir metaphor happening and it is commendable that Indian directors are aiming for a subtext no matter if the end result is sub-par at least they are trying.

 

Spotlight – A Review

Todd McCarthy directs Michael Keaton, Mark Ruffalo, Rachel McAdams, Brian D’Arcy James, Liev Schreiber, John Slattery and Stanley Tucci in Spotlight a story based on true events that led to the 2002 Boston Globe expose on systematic child abuse in church that caused a global uproar and eventually a decade later got Pope Francis to publicly apologize on behalf of the catholic church.

Spotlight is the special team of investigative journalists who work in isolation from the rest of the paper following up and priming a story before it is ready for an editorial publication. Here the team consists of Ruffalo’s Mike, McAdams’ Sasha and D’Arcy’s Matt who all report to Keaton’s Robbie. While working on a story on PD numbers they are asked by Live Schreiber’s Marty Baron the new editor of Boston Globe to follow up on a story that another reporter from Boston Globe wrote a small column on about a Boston priest who molested boys across 6 parishes over 20 years and a lawyer Garabedian played by Stanley Tucci claims he can prove that the Cardinal of the Boston Archdiocese knew about it and turned a blind eye.

From here on it opens a veritable Pandora’s Box as more victims and more abusive clergy come to the notice of the spotlight team. Through one of the victims they are put in contact with a former priest who used to work at a treatment facility where these abusive priests were sent when they were accused of such wrong doings. By his estimate he thinks that as many as 8% of all priests exhibit such abusive behavior and when cross referencing records of priests sent on sick leave of other similar euphemistic terms they uncover 87 priests who may have abused children while the Cardinal looked the other way.

For a story so important they couldn’t have chosen better actors. Ruffalo, D’Arcy and Keaton are great. Rachel McAdams makes a brilliant comeback and shows what she is capable of. Liev Schreiber underplays the editor role with a nuanced performance, there are no histrionics or loud outburst but a methodical dedication to the job at hand. The only complaint I have is with Ruffalo – while in most part earnest and believable the thing he does with his mouth when he talks in a manner that is supposed to seem like a Bostonian accent is weird. He sounds like that annoying person at the table who always speaks with his mouth full.

The editing and pacing of the movie is where this goes a bit haywire. There are no crescendos, no high points in the movie – it mostly maintains the same pace throughout and feels overlong. The story keeps shifting focus from the spotlight team writing the story, Tucci fighting the case, other auxiliary characters who appear to be shady but aren’t really bad eventually and this whole plot about Keaton pondering over why the Boston globe didn’t cover the news 20 years ago seems to allude to some complicity on the part of John Slattery which doesn’t go anywhere. There are many amazing support characters like Phil Saviano the leader of the victims organization, Patrick the junkie father of one who is garabedian’s client who agrees to be interviewed by Ruffalo, Billy Cudrup as the sleazy lawyer with a conscience Eric Macleish but they unfortunately are not the focus of the story and the procedural investigation is what takes up more of the story’s time and it is eventually what hurts the narrative.

Spotlight is a very important story that needed to be told. The acting is not bad and neither is the direction but there is something missing that makes me question whether this is really the best film of the year. Certainly one of the most important stories of our time and within a confused narrative and directionless acting there are little gems of insight like when the former priest who studied this phenomenon in abusive priests says that the vow of celibacy is one of the primary reasons for this behavior. Or when Matt played by D’Arcy goes and drops a stack of newspapers when the story breaks on the front porch of another abusive priest who lives in his neighborhood. Or how McAdam’s devout catholic grandmother asks for water half way into reading the story. Or when on the sunday when the story breaks and Robbie and Mike come to the newspaper office and there are no picketer or how the usual newspaper phone lines are not ringing but the Spotlight lines for the victims is ringing off-the-hook. It is moments like these that lift the story and make it worthwhile.