Spotlight (2015) Movie Review

In 2002, the Boston Globe ran a feature piece on the Catholic Church within Boston, uncovering that there had been an unreal amount of priests that had been molesting children and getting away with it. What this story did was create a domino effect that resulted in numerous parishes all over North America being uncovered as having similar atrocities happening and being swept under the rug. But how, exactly, did all the information about the molestation's get withheld for so long? And how did all the information finally see the light of day? That is what Spotlight, the latest film from Tom McCarthy, aims to uncover.

Robby Robinson (Michael Keaton) runs a section of the Boston Globe, known as Spotlight, which is a team of reports that will work together to write a single story, but that could take months to properly investigate and gather all the information. Robby's team consists of Mike Rezendes (Mark Ruffalo), Sacha Pfieffer (Rachel McAdams), and Matt Carroll (Brian d'Arcy James), and his supervisor Ben Bradlee Jr. (John Slattery). When the Globe gets a new Chief Editor named Marty Baron (Liev Schrieber), who urges the Spotlight team to look into the story of a priest being accused of molestation, the investigation unravels to show this cover up runs very deep.

The entire ensemble of Spotlight is fantastic. While most of the praise and awards will be in the direction of Keaton and Ruffalo, and deservedly so, the work done by the whole cast helps to elevate this film. McAdams, d'Arcy James, Slattery and Schrieber are all fantastic in supporting roles of varying lengths. As are Stanley Tucci, as a lawyer handling the molestation cases, and Billy Crudup, as a lawyer who has previously dealt with molestation cases. All the characters in the film feel like three dimensional people as opposed to characters presented in a film to advance the plot. They have interests and motivations and feel like people you would actually meet. You see them come to terms with the fact that these molestation's hit a lot closer to home than they knew, and how that shapes how they approach the investigation.

Tom McCarthy is a very interesting filmmaker to me, because he's made some underrated gems (Win Win, The Visitor, The Station Agent), and one truly awful film (The Cobbler). Typically, however, his films were small scale about the individuals in the film and how they deal with their circumstances, and I feel like that approach in his previous films lends itself perfectly here. We spend time with the Spotlight team and see how they investigate and uncover the facts in their story, and how it changes how they view things within their lives. McCarthy shoots the entire film with a subtly that never pushes you to conclusions or realizations before the characters themselves have experienced them. His ability to set the pace and let the reveals come to you is a big part of why the film works so well, and why he should be seeing his name come awards time.

The script from McCarthy and Josh Singer is smart, heartbreaking, and, often times, humourous. Despite the tragic events that the film talks about, the injection of humour really helps to alleviate the tension and nauseau you feel when you find out the things these poor children go through. Adding to this, the score by Howard Shore and the cinematography Masanobu Takayanagi are great, never trying to outdo the events being portrayed on screen.

What Spotlight does so well is it draws you into its world, where the idea that a representative of God could not do something so horrifying, especially to defenseless children. It makes you come to terms with the fact that this is a real problem, and that those directed effected by this are still dealing with the actions of these priests till this day. By the time you are able to fully comprehend what you are learning, you'll be left with a knot in your stomach and a lump in your throat. Spotlight is a remarkable film about truly heartbreaking events.

Grade: A

Creed (2015) Movie Review

The Rocky franchise has seen some high highs and some low lows. As far as I’m considered, the original Rocky holds up and is one of the true great sports movies of all time. Then we’ve also seen the mediocrity of the franchise leading to Rocky V, which is horse shit personified. There was also the totally decent, nothing special Rocky Balboa. And after that, we assumed that the franchise was over. Then I heard about another Rocky movie, but with Apollo Creed’s son. And I felt like it could be fun, but it would probably be average. But my expectations were absolutely shattered by Creed, the latest film from writer/director Ryan Coogler, a film that pulls you in and refuses to let you relax until it’s all over.

           

Adonis (Michael B. Jordan), or Donnie as everyone calls him, is the product of an affair between his birth mother and Apollo Creed (previously played by Carl Weathers), arguably the greatest boxer of all time. When Donnie is adopted by Mary Anne Creed (Phylicia Rashad), Apollo’s widow, his childhood of group homes and detention centers is replaced by a mother who raises him as her own. However, despite her warnings, Donnie wants to box, like his father, though refuses to use his name, going by Johnson instead. It’s once he commits to the life of a boxer that he meets an old opponent and close friend of his fathers, Rocky Balboa (Sylvester Stallone), who helps to guide him and provide a mentor as well. Yeah, I realized I’ve done kind of a piss poor attempt at giving you the plot of this film. But I tried. And that’s what counts.

I’m really happy that Michael B. Jordan has this film to help us forget that he was in the Fantastic Four reboot, because he’s simply outstanding here. His previous collaboration with director Coogler, Fruitvale Station, snubbed him of an Oscar nomination, and I think he is equally deserving this year. Jordan makes you understand everything Adonis does, from the reason he wants to box, his fears, angers and resentments, and his connection to Rocky. His delivers a raw, emotional perform that is immensely aided by his clear physical transformation, looking like he could really be a boxer.

And just as good as Jordan, Sylvester Stallone gives, possibly, the performance of his career. Gone is the Stallone who is gonna flex out of his muscle tee, and instead there is a man who doesn’t quite know what he’s living for anymore. Adrian and Paulie are long gone, his son is off building his own life, and he simply lives every day closed off. Stallone gives Rocky a vulnerability that the character hasn’t had since the first film, showing the heartbreak and deep sadness that fills him. His chemistry with Jordan is evident, and is a big reason the movie feels as smooth as it does, and could be a reason both actors see themselves garner some serious, well deserved awards talk.

The supporting performances are all solid as well. Rashad has a small amount of screen time, but makes it work, as does Ritchie Coster, who plays Rocky’s old friend from the neighbourhood, and Tony Bellew, a real life boxer, who plays boxer “Pretty” Ricky Conlon. However, it’s Tessa Thompson who I really ended up enjoying as Bianca. Yeah, she’s the love interest, but she’s also a fully realized character who has her own motivations and concerns, and Thompson, who I loved in Dear White People, gives a fantastic performance.

Ryan Coogler does damn near everything right with them film. He gives you a reason to believe that Rocky Balboa is as relevant now as he was 40 years ago. Clearly, Coogler is a very talented director that knows how to get a film to make you feel. A lot of credit also has to go to the cinematographer Maryse Alberti, who makes each fight feel unique and different and makes them feel as real as any fight you will see in a film. The score, by Ludwig Göransson, is excellent, giving Creed a unique electric feel that gets you going, and once you hear that iconic Rocky theme, it feels so fucking earned.

In the end, Creed is simply a film you should not miss. It’s a boxing movie that wears its heart on its sleeve and dares you not to applaud. By the end of the film, I had a big stupid grin on my face and had wiped away a tear or two (unlike Justin who cried like a bitch the whole movie), and could not wait to see it again.

Grade: A