Sunday, April 30, 2017



If you saw the Oscar 2016 awards telecast, then you saw what was one of the craziest upsets in Oscar history: when Damien Chazelle's  Hollywood musical LA LA LAND was nominated for a whopping fourteen Oscars, it's ultimate victory for Best Picture seemed  assured. And as the evening progressed and Chazelle's film racked up six awards, it seemed inevitable.  So when presenter Faye Dunaway wrongly announced that it had won the Best Picture award, nobody seemed surprised.  Nobody, that is, except for the vote counters at Price Waterhouse Cooper, who were forced to swoop in, mid victory speech no less, and tell the producers of LA LA LAND that a mistake had been made*.  And so it was that a moderately budgeted sleeper hit with two well known stars was beaten out by a very low budget intensely personal independent film.  The win for MOONLIGHT bears out a trend that has been going on for some time now in movies: the best films are mostly being made independently with  lower budgets allowing for more interesting and personal films, or in other countries altogether. And MOONLIGHT is an excellent film, with a script full of quiet, thoughtful moments and sad, emotionally removed characters.  While a cynic might say that it won because it filled out a politically correct check list (with its gay, African American, impoverished lead character), it's simply a strong, melancholy story about a boy who grows into manhood without ever feeling that he fits in.

The film's production began when play write Alvin McCraney wrote a play entitled IN MOONLIGHT BLACK BOYS LOOK BLUE in 2003.  The play was never produced.  Years later film director Barry Jenkins was looking for a followup film to his 2008 debut MEDICINE FOR MELANCHOLY when the play's script came to him.  Considering that, like McCraney, Jenkins grew up in the Liberty City projects and had a mother who struggled with crack cocaine addiction, he was drawn to the material, and he and McCraney began to collaborate on a film script that contained elements of both of their childhoods.  The film was eventually produced by the  A24 independent film company on a budget of around one point five million dollars, and it was shot in around twenty five days with a mostly unknown cast (interestingly, stars Janelle Monae and Mahershala Ali would both get career boosts when the highly entertaining hit film HIDDEN FIGURES would open up shortly after this one).  Most of the film's shooting was done on the actual locations it was set in.  Released in October of 2016 to glowing reviews, the film made around twenty-seven million dollars in America, and around another thirty million overseas, returning  on it's small budget many times over!
It tells the story of  Chiron in three separate times: when he is a boy (played by Alex Hibbert), then a teenager (Ashton Sanders) , and finally a young man(Trevante Rhodes).  He grows up in the tough inner city neighborhood of Liberty City, Miami, with a crack addicted mother Paula (Naomie Harris).  As a child, he finds himself making a father figure out of his mother's drug dealer,  Juan (Mahershala Ali), while also beginning to realize that he is gay.  As a teenager, he is picked on mercilessly, and has his first sexual experience with his friend Kevin (Jharrel Jerome).  After lashing out at a bully, he spends time in juvenile hall.  As an adult, Chiron is now a drug dealer.  He reaches out to Kevin, who has become a  chef.  When the two meet, Chiron reluctantly admits that he has never been intimate with anyone other than Kevin.

Mahershala Ali & Alex Hibbert

So let's get this out of the way, MOONLIGHT is a groundbreaking Best Picture winner for a number of reasons: it's the first to feature only African American actors in speaking parts, to have a gay protagonist, and to be openly autobiographical.  Also, if you adjust for inflation, it has the lowest budget of any Best Picture winner too.  But again, I don't want to praise this film just because it fills out some quotas.
One of the striking things about the film is that it's original theatrical origin is apparent in its small cast, its dialogue heavy script and  in the fact that it consists of mostly long, dramatic scenes played out slowly.  But this is to the film's advantage: like in a good play, it's often the honest emotion of the dialogue, and the nuances of the long pauses in between the dialogue, that make the deepest impression on the audience.
And despite the film's low budget, it looks great: Jenkins and cinematographer James Laxton fill the movie with jagged, white and yellow exteriors and cool blue interiors.  And the camera keeps moving, whipping around the often harsh locations.   Jenkins is well aware  that a build up to an emotional moment is as important as the moment itself; like when a sadistic high school bully is about to make his move and the camera swings around  him as he paces in a circle, ratcheting up the tension, or when the adult Chiron slowly walks towards the workplace of a man he hasn't seen in almost ten years and the camera follows him all the way, underlining the importance of the moment for him.  Also, the film's repeated visual theme of the cleansing, purifying nature of water is wonderfully displayed, whether it's in the tender, almost baptismal way that Juan teaches Chiron how to swim, to the heartbreaking moment  when the teenage Chiron tries to wash away his facial scars after a particularly harsh beat down.  And the original soundtrack by Nicholas Britell, which features what he calls  "chopped and screwed" classical music, is moving and almost mournful, with tender piano and violin.  Appropriately, the softer classical music of the film's first two parts turns to hip hop for Chiron's adulthood to better reflect his more confident stance.

Ashton Sanders

At one point in the film Chiron's friend Jack, after not seeing him for almost ten years, says to him "You still can't say more than three words at a time."  It's a telling moment that says so much about the character; in all three stages of his life, Chiron feels like someone out of place, and who realizes that because he is different than the other boys and men around him, the more he says, the more likely he will be picked on for being different.  (In the childhood and teenage scenes of the film, it painfully nails the casual cruelty that children often display.)  To have such a soft spoken character as the lead of a film shows the importance of casting, and Jenkins did a great job.  Alex Hibbert and Jaden Piner who play the childhood and teenage Chirons respectively, both seem to exude thoughtfulness and sensitively while saying very little.  We immediately like the childhood Chiron, which is important because we then understand why Juan goes out of his way to check up on him,  even while he says nothing.  (In a very moving moment,  Chiron can't bring himself to say goodbye to Juan when he's leaving, but he clearly is saddened by it).  Given that the child  Chiron says so little, when he does speak it carries enormous weight: the scene in which he asks Juan and his girlfriend "What's a faggot?" is so well acted, so matter of fact in it's depiction, and so quietly effective in Juan's response ("You can be gay, but you don't have to let nobody call you a faggot.") that it's probably the film's most moving moment.
Mahershala Ali won a Best Supporting Actor award for his portrayal of Juan, and it's clearly deserved; he is completely believable as he goes from being a tough guy drug dealer checking on one of his corner boys to a being a well meaning adult who just can't watch a kid being bullied without helping him.  The gentleness of the swim lesson he gives Chiron shows his inner decency, even if he is a drug dealer.  And the whole cast is excellent: Naomie Harris, as Chiron's mother Paula, has only a few scenes to portray a woman slowly coming apart from drug use, and she's great in all of them, especially when she desperately demands money from the teenage Chiron.  She also has a great moment when she accuses Juan of trying to raise Chiron, to which he responds "Are you going to raise him?" "Are you going to keep selling me rocks?" She spits back, embracing the cruel irony of their situation.  And as the adult Chiron, Trevante Rhodes is also very good; I love the way that he goes from putting up a tough front as a mid level drug dealer who messes with one of his younger dealers just to anger him, to letting that front melt away when Kevin calls him on the phone.  Or the way that he obviously wants to say so much to Kevin, but can't bring himself to (his mildly shocked reaction to Kevin showing him a picture of his son is telling), until he finally spills out in the film's great last line "You're the only man that's ever touched me.  I haven't really touched anyone since."

 If the film has a flaw, I would say that I don't find the adult Chiron as interesting a character as his younger incarnations, perhaps because his inner turmoil is less apparent.  Also, the fact that Juan does not appear in this section of the movie is disappointing, although understandable given that Chiron has grown beyond the need for a father figure.


It's obvious that I love this movie, and while I also loved Paul Verhoeven's ELLE, Chan-wook Park's THE HANDMAIDEN and Ava DuVernay's 13th, foreign films and documentaries rarely get Best Picture nominations, so I'm perfectly happy with MOONLIGHT's victory.

*On a side note, I feel what happened is not only a victory for MOONLIGHT, but also a vindication for Marisa Tomei.  Ever since she won the Best Supporting Actress award for the film MY COUSIN VINNY in 1992, rumors have persisted that the envelope had been read incorrectly by presenter Jack Palance, and that she hadn't actually won the award.  We now know that Price Waterhouse Cooper would not let such a mistake stand.

Thursday, February 2, 2017


The spheres  of art and entertainment and politics have collided recently in an unprecedented way: as the whole world knows, President Donald Trump on January 27th. signed an executive order banning all immigrants to the US from seven mostly  Muslim countries.  The effect of this has been chaotic, with protests erupting at airports nation wide.  It has also hit the Academy Awards: among this year's nominees are Iranian director Asghar Farhadi and several Syrian people who appeared in the short documentary film WHITE HELMETS.  Under the Trump order they are all barred from entering the country, a chilling example of political overreach; the notion that Farhadi, who had already attended the awards ceremony in 2012 when his excellent  film A SEPARATION won best foreign film, is in some way a threat to the country is absurd and offensive. Although there has been some talk of giving special consideration to Farhadi and the Syrians, that just underlines the  danger of the whole order: why should they be allowed to go to a ceremony, but many people fleeing for their very lives are not being allowed in? Farhadi recently told the New York Times that he will not attend the ceremony either way, which I think is the right move.  But it raises a larger question: should the Academy ban the Oscar ceremony entirely?
In the course of its history, the Oscars have been postponed several times: because of a flood in 1938, because of the shooting of Martin Luther King Jr. in 1968, and because of the attempted assassination of Ronald Reagan in 1981.  But outright cancelled?  The idea was probably first floated in an article in VOX magazine yesterday, and was later picked up in the AV CLUB website today.  The issue is sure to spread and be widely debated.
Now on the one hand, cancelling the Oscars would certainly send a message and create awareness about what our new president has done; the cancelling of a major awards show would let the world know that Hollywood and millions of other Americans do not want Trump's actions to speak for all us.  Although he has tried to compare his order to past orders made by presidents Bush and Obama, there has never been one as far reaching or openly discriminatory, with some people left in limbo and families being separated.  Getting rid of the show would remind the country that the man we have elected is not a normal politician, but an unexperienced one who ran on a platform of bigotry; it would help prevent the normalization of a highly divisive figure, perhaps the most divisive president ever.  It would acknowledge that now is not the time for frivolous star watching and "best dressed" lists.
On the other hand, because the Academy Awards is routinely one of the most watched TV events of the year, it could give a format to outspoken members of Hollywood to air their anger at the Trump administration, and perhaps hit inside that middle American Fox News bubble.  Political speeches are nothing new at the Academy Awards, and they range from the odd moment when Marlon Brando sent Native American activist Sacheen Littlefeather to pick up his Oscar for THE GODFATHER in 1973 and lecture the audience about negative portrayals of Native Americans, to Micheal Moore being booed in 2003 for criticizing the Iraq war while winning for his documentary BOWLING FOR COLUMBINE.  Surely Trump's recent actions will bring more political speeches to the fore, and perhaps the entire show will take a more serious tone, which might be a good thing considering the troubled times we now live in.
Finally, there is the financial angle to consider; the ad revenue that would be lost from the show's cancellation would number in the millions.  I imagine the pressure from the ABC network on the Academy to keep the show is huge, which, in the end, will probably be the deciding factor in still putting on the show, even if the Academy won't admit it!  Personally, I can understand both arguments, but I lean towards calling it off to let the world know that business as usual is not going to be standard with a demagogue like Trump in the White House.

Tuesday, January 24, 2017


Well, the 2016 Oscar nominees are out, and while glancing over them, I can't say I see any surprises: LA LA LAND, which dominated at the Golden Globes (a record seven awards), racked up an impressive 14 nominations, putting it well into the lead for the Best Picture award.  The film is a mostly upbeat, colorful, musical with likable, attractive stars that manages to both pay homage to old musicals while remaining modern.  It's a hit with both critics and audiences, and it's Hollywood setting is something many Academy members can relate to.  (How many of them haven't wanted to sing and dance their way out of a traffic jam?).  All of this means that the Best Picture winner will probably be a lock for LA LA LAND, but then I also thought that about Hillary Clinton.
It also appears that the "Oscars so White" campaign of last year has not fallen on deaf ears, with 6 different African American actors being nominated from films like FENCES, HIDDEN FIGURES and MOONLIGHT, (not to mention South East Asian actor Dev Patel being nominated for LION)  and those films all picked up other nominations for direction and screenplays.  Political correctness aside, I think all three are fine films and I'm glad that the nominations will help them all find a bigger audience.  And in many ways, the most relevant film of the year was African American director Ava Du Vernay's documentary 13th., which is up for Best Documentary and will hopefully win.

While studying the nominees overall, I think the Academy did a good job this time around, with no glaringly overrated films. I like that the nine Best Picture nominees included a good Science Fiction film (ARRIVAL) and a cop movie (HELL OR HIGH WATER), along with the usual prestige dramas.

 My biggest disappointment is that neither Chan-Wook Park's THE HAND MAIDEN or Paul Verhoeven's ELLE were nominated for Best Foreign Film  (Isabelle Huppert was given a nomination for her excellent role in ELLE).  I also wish that Amy Adams, who gave two good performances this year in ARRIVAL and the oddball NOCTURNAL ANIMALS, had gotten a Best Actress nomination instead of Meryl Streep for her fun but fluffy performance in FLORENCE FOSTER JENKINS.  But I'm sure Adams, who's been nominated 5 times already, will win someday soon.
Despite my few reservations, it appears that the Academy is doing what it does best: showing that movies for grown ups still matter and making more audiences aware of lower budget films like MOONLIGHT and MANCHESTER BY THE SEA.  So, bring on the overblown musical numbers and inevitable president Trump bashing, the Oscars are coming!

Tuesday, November 1, 2016

 In a decidedly non-Oscar related conversation, my old friend Jason Shankel and I discuss and debate George Romero's famous zombie trilogy:

Check it out here.

Saturday, October 8, 2016


Recently, I have been filled with anticipation over seeing the new movie BIRTH OF A NATION; the historical film took both the audience award and the Grand Jury Prize at this year's Sundance Film Festival, a triumph for first time director, screenwriter and star Nate Parker.  The film just opened to a wide release yesterday.
But before it was released, a skeleton fell out of Parker's closet: in 1999, while a student at Penn State University, Parker and his friend Jean McGianni Celestin  were accused of raping a drunken female student.  The two men claimed that the sex had been consensual, but charges were filed. Although they were found not guilty, the charge still hangs over the heads of both men (Celestin co wrote the film with Parker).  Even more disturbing, the accuser committed suicide in 2012.  Gabrielle Union, a star of the film and herself a rape survivor, admits that she cannot take these allegations lightly.

So, should the film be boycotted?  Personally, I still plan to see it, but I can understand other people having that reaction.  I have always felt that art and the artist who created it are two separate things, and that terrible behavior by an artist outside of their works of art does not make their artwork worthless.  People who have read my blog may have noticed that when I wrote about Best Picture winner ANNIE HALL(1977), I decided not to mention director Woody Allen's controversial marriage to his ex-girlfriend's much younger adopted daughter Soon-Yi Previn.  Partly, I did this because that relationship happened years after ANNIE HALL was released, but also because I felt that it had nothing to do with the film itself.  To me, it is possible to both condemn Allen's personal life and still enjoy his films as something separate from that life.
And hey, why pick on Allen?  Director Roman Polanski can't enter the US without being arrested for the rape of a 13 year old girl he committed back in the 70's.  Does that make all the films he's made since then unwatchable?  Obviously the Academy doesn't think so, since they awarded him a Best Director Oscar for the film THE PIANIST in 2002, even while he was in exile.  And then there's Charlie Chaplin, hailed as one of the greatest movie stars ever, who while making the film THE GOLD RUSH in 1925, had to find a new leading lady because he impregnated original star Lita Grey; she was 16, he was 32. 
Finally, there's  the story of director Micheal Curtiz; while making the film NOAH'S ARK in 1928, he demanded that the film's inevitable flood scene dump hundreds of thousands of water on the people playing extras.  (Initial camera man Hal Mohr  quit the film rather than shoot it).  When the resulting chaos wound up drowning three people and seriously injuring others, the studio was able to bury the story and Curiz, who at the very least should have been brought up on some kind of man slaughter charge, was able to continue his career like nothing had happened.  He eventually went on to direct CASABLANCA in 1942, which happens to be one of my favorite movies.  Is it wrong for me to love that movie, given that it's director was responsible for the drowning of three innocent people?  I don't think so.  Again, art and artist are two different things that can be held and judged separately.  Which is why I'll still see BIRTH OF A NATION.

Wednesday, September 7, 2016


I just made a super cut of various movie scenes featuring  Jesus imagery from Charlie Chaplin's THE KID in 1921 to CHILDREN OF MEN in 2006.

Check it out here.

Wednesday, August 31, 2016


Recently I did a podcast with an old friend of mine debating the merits of the Howard Hawks 1951 classic version of THE THING versus the John Carpenter 1982 version.  The result was over two hours (!) of analysis and corny jokes!  Enjoy:

Monday, July 18, 2016



The action of understanding, being aware of, being sensitive to, and vicariously experiencing the feelings, thoughts, and experience of another of either the past or present without having the feelings, thoughts, and experience fully communicated in an objectively explicit manner

I may be going off topic here, but with the new version of GHOSTBUSTERS coming out and facing some social media backlash because of its all female cast, I thought it might be interesting for me to write about the continual lack of good roles for women in main stream Hollywood films and my own personal theory as to why that happens.
 In 1985, cartoonist Alison Bechdel wrote a strip in which two female friends discuss the 3 rules one of them has for seeing a movie: 1. There has to be at least two women in it.  2. They have to meet and have a conversation.  3. The subject of that conversation has to be something other than men.
These rules have come to be known as the Bechdel test, and it's truly surprising how many movies come out every year and fail to meet its standards.  I will sheepishly admit that many of my favorite movies don't make the cut, but that's not really surprising; even a cursory glance of the list of best picture winners down through the years reveal many films that also wouldn't pass.   Even 2008's THE HURT  LOCKER, the first best picture winning film to have a female director, had practically no women in it.
Simply put, the idea of the male hero heading out on some kind of quest seems ingrained into not only modern story telling but story telling in general.  When Joseph Campbell published his now famous survey of comparative world mythologies, THE HERO WITH A THOUSAND FACES, he found that most of the world's myths were created by men with male heroes.
When applied to tales of danger and adventure, this is not surprising; men being far more prone to violence than women also makes them more logical leads for stories about those topics (look at how many war films have virtually no women in them whatsoever).  But it's not just violent films that men dominate, it's also comedies, dramas, bio pics, whatever.  Part of this may also be that, along with being more violent, men also tend to take more risks than women do, which is often the basis for drama, even if it's not always such a good thing in real life.

But I think there is another issue, and that is the nature of empathy.  Put simply, women on average experience empathy more easily and deeply than most men do.  According to the journal of Neuroscience and Biobeheavioral  Reviews, the difference in empathy between men and women begins at birth and increases with age.  I think this difference translates into women being far more likely to be able to identify with and root for male characters than vice versa.
In my lifetime, I've met many women who have enjoyed films like 1982's THE THING and 1992's GLENGARRY GLENN ROSS, which have no female characters in them at all.  But have I ever met a man who liked a movie with no male characters?  Nope.  In fact, even finding a movie with no male characters is tough (There's 1939's THE WOMEN, its 2008 remake, 2005's THE DESCENT, and, uh...).
The fact that there is the demeaning term chickflick aimed at any film that appeals to female audiences without any corresponding term for films aimed at male viewers seems to confirm this.  So does box office analysis; the recent huge success,  THE AVENGERS, a boy's adventure film if there was one, had an audience of around 40% women, whereas the SEX AND CITY films both had male attendance of around 10%.  And it applies to children's films too: in 2010 Disney renamed RAPUNZEL to TANGLED and played up the role of the male character in the film's advertising  to lure in boys.  They did the same thing with FROZEN in 2013, creating ads that made the movie look more like a fun romp with a talking snow man than a princess themed story.  Imagine the same studio playing down the roles of ALADDIN in his film or Simba in the LION KING.

Note that the male lead ALADDIN had only one female character in the poster, whereas the female lead FROZEN still has more male characters

So what do we do about this?  Well, given that films are a business and young men continue to pay to see more movies than any other demographic, there's not a heck of a lot that can be done in mainstream films.  Personally, I would encourage both men and women seeking out films with bigger and better roles for women to check out the latest foreign and independent films, where the roles for women both in front of and behind the camera tend to be more prominent.   As an avid film goer myself I recently saw the French film THE INNOCENTS and the Japanese film OUR LITTLE SISTER, both of which have better parts for women than most films at the multiplex.  Remember, the only way to really vote on the kind of movies studios make is by choosing to spend your money or not.  Good movies with good roles for women can be found, it just may take some digging.

Enjoy my ramblings?  Check out my other blog here.

Wednesday, April 13, 2016


After all the controversy about the lack of diversity in the Oscar nominations of 2015, the show itself almost felt like an anti climax.  Yes, Chris Rock's very funny and incisive hosting job was really what the show needed, but the awards themselves almost seemed besides the point, and sure enough, its TV ratings were the lowest in years.  As the evening wore on, it appeared that George Miller's MAD MAX:FURY ROAD was winning all the technical awards and Alejandro Inarritu's THE REVENANT was winning the more prestigious awards, with Inarritu pulling off his second best director award in a row (after his win for the previous year's BIRDMAN).  But then the best picture winner turned out to be Tom McCarthy's serious docu-drama SPOTLIGHT, which only won one other award, for its original screenplay.  But then, was that really such a surprise?  SPOTLIGHT is a solid, well made and acted film about a dark and important subject (the Catholic priest child abuse cover up) that celebrates the importance of good journalism.  It's the kind of intelligent  movie for adults that the Academy usually awards, and in my opinion, this time with good reason. It's an excellent film that will be studied years from now as a document of the discovery of a still unfolding scandal.

Micheal Keaton and Mark Ruffalo

Director Tom McCarthy began his career as a minor actor before moving into writing and directing highly regarded independent films  like 2003's THE STATION AGENT and 2007's THE VISITOR.  Working with TV writer Josh Singer, McCarthy finished the script for SPOTLIGHT in 2013; it sat on the shelf for a while, winding up on the 2013 Blacklist of best unproduced screenplays, before becoming a US and Canadian co production for four separate film studios.  The quality and importance of the script brought some big name stars like Micheal Keaton, Mike Ruffalo and Rachel McAdams to the film, despite its relatively low budget.  Shot  mostly on location in Boston, the production put a lot of effort into getting the historic details of the story right, with cast and crew consulting the real people that were portrayed on screen.  Rightly sensing the film's Award appeal, the studios released it in late November to almost universal acclaim; it was also a modest box office success, grossing around $40,000,000 in the US on a budget around $20,000,000.
Set in Boston in 2001, it tells the story of how the newspaper the Boston Globe, at the urging of new editor Marty Barron(Liev Schreiber ), investigates the story of a Catholic priest who was accused of child molestation better never tried.  This single case grows into a handful of pedophile priests, and then gets even larger, encompassing around ninety priests in the Boston area, none of whom ever faced jail.  The dogged research of reporters Robby Robertson (Keaton), Sacha Pfieffer (McAdams) and Mike Rezendes (Ruffalo) reveals that higher ups in the catholic church worked with lawyers and law enforcement to make sure that the cases were never seriously investigated.  Despite the church's efforts to kill the story, it is eventually released, causing the paper's phone lines to be flooded by calls from other victims of priests.

The movie begins in Boston with a flashback all the way to 1976 when we see a priest at a police station, arrested for child molestation, being released by an uninterested police force and the district attorney. A young cop is stunned, while the officers around him shrug it off, like it's standard procedure.  It's a chilling scene that immediately identifies the power and influence that the Catholic church had in the heavily Catholic Boston at that time.    Without hitting the audience over the head, the film effectively shows the special exemption that religious organizations often get when dealing with legal issues, especially one as big as the Catholic church.  As Mike Garabedian(Stanley Tucci), an attorney representing abused children puts it, "If it takes a village to raise a chld, then it takes a village to abuse one."

 MccCarthy's directorial style in the film is straightforward and not flashy; he realizes that the strength of the performances and the drama of the story is compelling enough without filling it with pretty and slick images.  The same goes for Howard Shore's strong but subtle piano based score, which is used sparingly; the scenes in which the adult survivors of abuse describe their horrible experiences, the most emotional moments of the film, effectively have no music playing underneath them to underline the emotion.

But the film is not just a screed against the Catholic church, it's more a celebration of the importance of investigative journalism rooting out corruption, wherever that corruption may lie.   And the reporters are all portrayed as serious professionals with an important job to do, and we see them combing through files and micro films, doing tough interviews and having doors slammed in their faces. Except for one scene where Rezendes and Robertson argue over when to release the story, they are tight lipped and calm.  For example, Liev Shreiber as chief editor Marty Barron never raises his voice once, but he still seems to radiate intellect in every scene he's in.  He  knows that this story will be huge, and he wants to be sure to get it right.   The information they gather for their story has no single breaking moment, (although they are surprised to see just how many priests may be involved) instead it's about the discovery of one fact after another until an inevitable case is made.  Even if all the legal in and outs of the story can get a bit confusing, we are always with the reporters as they doggedly work their way forward.

One of the most striking things about SPOTLIGHT is that it truly is an ensemble film about a determined group effort, with no single protagonist standing out, and therefore it's hard to hold one performance over all the others; the whole cast is excellent, right down to the actors playing adult survivors of abuse who have to give powerful performances in just a handful of scenes.

  And it's to the film's credit that the Catholic church itself has not responded negatively to it, perhaps realizing that the facts of the film are true, and that complaining about it would just remind the public of the scandal itself.  In any event, the film reaches that rare place in movies: a fictionalized account of real events that can be looked at as a historically accurate document.  Like SHINDLER'S LIST, attention was put into the details of the film, making it feel like history come to life.  On that level it's a complete success.


I think it's obvious that I find that SPOTLIGHT was a fine choice for best picture.  Although I enjoyed THE BIG SHORT, Adam McKay's crazy comic look at the 2008 economic crash, and INSIDE OUT, Pete Docter's wildly creative and entertaining animated film, more than it, it's still a solid movie that deserved all it's accolades, especially for it's find ensemble acting.