Spotlight (2015)

In 2001 the "spotlight" team at The Boston Globe comprised of editor Walter "Robby" Robinson (Michael Keaton), and reporters Mike Rezendes (Mark Ruffalo), Sacha Pfeiffer (Rachel McAdams) and Matt Carroll (Brian d'Arcy James). This small group of investigative reporters would usually spend over a year on stories which require extra digging, in depth analysis, or extensive research. They work together like detectives putting together puzzles and bouncing ideas off of each other while tossing a tennis ball against the wall and eating leftover pizza. These are the kinds of stories that win awards, the kinds that change the world.

They begin investigating sexual abuse trends from Catholic priests in Boston. They interview a few victims, meet with a few experts and soon what starts as a seemingly small albeit horrific issue turns into a much bigger problem. There could be as many as 87 priests in Boston alone. They see that the roots go deeper than just a few bad seeds. It's a booming psychological phenomenon that spreads from the Vatican to all across the world.

But, like any good mystery, when they start getting closer they are met with more and more obstacles to overcome. They face pushback from the church, uncooperative sources, and run-ins with lawyers. And then there is a terrorist attack on the World Trade Center and the spotlight reporters are pulled to work on 9/11 reports. It takes a long time for them to get the story right because they know if they don't get it ~right then it will just be buried or overlooked.

They deal with this sensitive material with kindness but also straightforwardness. Their interviews are done as any journalist would - to get to the bottom line. In one interview one of them asks "Did you ever think about telling anyone?" He responds, "Like who, a priest?" These are awful, painful stories about people who were taken advantage of and deeply affected. In the end, it gets to the reporters too. There are some striking emotional scenes where they express the unfairness of the situation and the dire need to tell the public what was going on.

Through the tenacity, the long hours, and the brilliance of this team of reporters, one of the biggest scandals was uncovered and released to the public. The last scene is so emotionally overwhelming and yet also wonderfully understated. When the story is released, the phones at Spotlight are ringing off the hook almost exclusively with victims wanting their story to be told and heard. This is important.

It's a film that ranks alongside the gold standard of journalism films, "All the President's Men." It depicts the journalistic process without glamorizing: it's tough work. Those journalists are out on the streets, going door to door, rummaging through old boxes in libraries and courthouses day in and day out. But through their rigorous work, people who were afraid can have a voice. Their story can be told.

It's a movie about a team and a team made this movie. If the Oscars were to give an award for best performance from a group, this movie would deserve it. No one actor stands out, but they all do their job and get the job done. Other performances include Stanley Tucci, John Slattery, and Liev Shreiber. The many supporting acts come together to build this masterpiece.

Perhaps even more credit is due to director Tom McCarthy who didn't glorify the abuse but didn't minimize the damage. He paced it perfectly and created an intense drama even when the audience knows the outcome. This is one of the best - if not the very best - films of the year. 10/10

Hugo (2011)

I remember hearing that Martin Scorsese (Goodfellas, The Departed) was directing a movie called Hugo, rated PG. To say I was skeptical was an understatement. Exiting the theater, however, I had the distinct feeling that I now understood the gangster director better than I ever did watching Gangs of New York. Among many other things, Hugo's magic is found in the apparent affection Scorsese had for this creation.

The story follows a boy named Hugo Cabret (Asa Butterfield). The 12-year-old orphan is depicted in tattered clothes, disheveled hair and a perpetually dirty nose. Following after his late father (Jude Law), he runs the clocks in the railway station - though to do so while avoiding the station's constable (Sacha Baren Cohen), intent on sending him to the orphanage, is not easy. He doesn't say much at first, but his eyes tell a story of their own. His passion lies in the old automaton that his father left him and he stresses and thieves to get it working again. With the help of his new friend Isabelle (Chloe Grace Moretz, straight outta Kickass), they fix the automaton just enough for it to draw them a picture - a picture that leads them back to the famed film director Georges Melies.

It's based off the novel The Invention of Hugo Cabret by Brian Selznick. By itself, the story is lovely, but it's even more magical when seeing it connect to Scorsese on a personal level. In an interview, Scorsese has said that he identified with the young Hugo's lonely voyeuristic upbringing. As a young boy, Scorsese was very ill with asthma and spent much of his time indoors at the movie theater. In many a sense, it's semi-autobiographical. But Scorsese isn't just Hugo, he's also Melies. An inventor and filmmaker, Melies was instrumental in early film and in special effects. Small films like A Trip to the Moon and The Impossible Voyage are still remarkable and iconic. Scorsese filmed this film in 3D and it's beautiful. The opening shot zooming over Paris is striking, bright, and impressively detailed. 

This is largely a movie about movies. What film lover doesn't love that? Hugo's sad eyes light up when he goes to the pictures. The dawning of the cinematic world is unfolded before the children's eyes (and our own). It celebrates movies by reflecting back on where we've been and paying tribute to those we owe so much. It paints a beautiful picture of the power that film has on us. Because through movies, we can see our dreams. 

Beyond that, the story itself is deeply emotional. Sir Ben Kingsley plays Monsieur Melies himself. There are some incredibly touching scenes of him lamenting the loss of his work and the decline of his career. He cries at the thought of his films being melted and destroyed and his life's work unseen and unappreciated. These scenes are some of the best in the film.

All the elements blend together for a perfect love letter to the movies we all love and hold dear. Asa Butterfield and Chloe Grace Moretz model our own discovery and longing for adventure while we get to learn about the story played by the veteran actors. Beside Kingsley, Christopher Lee delivers an exemplary supporting performance.

Despite its PG rating, it appeals more to adults in a family friendly way. I can't say I would have appreciated it as much as a child than I do as an adult. Either way it's wonderful to see this other side of Martin Scorsese through this beautiful tale. 9/10

Shattered Glass (2003)

Warning: Your viewing experience can be absolutely exceptional if you watch knowing nothing about this film’s plot or the real events it depicts.  That is the best kind of movie watching and this film deserves that sort of attention.  Suffice it to say that this is a rewarding two hours and if you have not already seen it you should stop reading immediately and go rent this.  Right now.

At the dawn of the internet there’s The New Republic – referred to as the in-flight magazine of Air Force One.  Its youngest reporter, Stephen Glass (Hayden Christensen), is the man.  He always knows just what cards to play, what compliment to throw and what joke to tell to be loved, admired, and respected by everyone.  He’s charming, he’s witty, he’s unfallingly polite, and he’s on every other magazine’s hot list.

Chuck Lane (Peter Sarsgaard) is the new editor of the acclaimed magazine and he’s got it rough after replacing the beloved Michael Kelly (Hank Azaria).  When the news team of the online newspaper Forbes Digital brings to light potential discrepancies in Glass’s recent article “Hack Heaven”, Lane is faced with the gruelling challenge of getting to the bottom of it.  Sarsgaard received a Golden Globe nom for best supporting actor in this role and he is, indeed, phenomenal.  Scene after scene he hits it without a single misstep, though I am partial to a rather stirring moment near the end in which he coolly storms into the building wearing his black leather jacket, perfectly timed to Mychael Danna’s magnificent score.

The story is nothing short of fascinating.  Layer upon layer it sucks you into its web of possible lies and deceit.  It raises some important questions about journalistic ethics, though it may not answer the ultimate question of “what is driving this kid?”  It’s a complex character study with no real rhyme or reason to his actions because pathological liars don’t always have reasons.  It gets even better after it’s over and you can find out for yourself just how accurate the film’s events were, and more importantly how accurate Christensen’s performance was.  Say what you want about this kid and Star Wars, but he is excellent in Shattered Glass.  You may argue that he’s just as whiny as ever but this time it fits his character.  Or perhaps you think he’s finally found his niche.  Either way, he’s great – so I wouldn’t give up on him just yet.  Featured on our DVD copy is the “60 Minutes” interview with the real Stephen Glass and after watching that I can safely say that Darth Vader hit it right on the mark.

Other notable performances go to Hank Azaria, Chloe Sevigny, Rosario Dawson, and Steve Zahn in his small role (I could watch that guy in anything).  The acting isn’t the film’s only strength, though.  First time director Billy Ray creates a riveting drama that captivates its audience better than any other movie I’ve seen in years.  It deserves a place right next to All the President’s Men as the greatest journalism movies ever made with a perfect, witty script and a satisfying end to boot.

I could watch this movie a thousand times, it’s that sharp. 10/10

“If it was sunny outside and Steve and I were both standing outside in the sun and Steve came to me and said, ‘It’s a sunny day,’ I would immediately go check with two other people to make sure it was a sunny day.” ~Chuck Lane on Stephen Glass