Spotlight is a masterclass in storytelling | review

Refreshingly realistic, superbly acted, and top-notch direction, Spotlight proves to be one of the best movies of the year

About thirty minutes into Spotlight, Boston Globe reporters Sacha Pfeiffer (Rachel McAdams) and Michael Rezendes (Mark Ruffalo) speak to two of the victims of abuse at the hand of Catholic priests belonging to the Archdiocese of Boston. The two separate interviews are interwoven, one amplifying the message of the other. And in the background — both literally and figuratively — is the Church. It’s scenes like these where Spotlight transforms from an engrossing journalistic slow burn into a marvelous empathetic piece of humanity.

Spotlight, directed by Todd McCarthy, tells the story of the Pulitzer Prize-winning investigation into the Boston Catholic Church scandal. Headed by Walter “Robby” Robinson (Michael Keaton), the Boston Globe Spotlight team explore the cover-up of over 90 cases of sexual abuse and molestation of children by Catholic priests.

While Spotlight is a feat of classic screenwriting that harkens back to the days of All the President’s Men or Network, McCarthy’s subtle direction is what amplifies it to greatness.

In frames and in dialogue, the Church’s power is feared and felt. The movie emphasizes: The Church is Boston and Boston is the Church. As attorney Mitch Garabedian (Stanley Tucci) says, “if it takes a village to raise a child, it takes a village to abuse one.” Moments of pure tension — the ones that bring the film alive — are brought about by the invisible power of the Church and the survivor’s trauma. And while their experience is central, it never feels exploitative.

Unlike the inaptly named film Truth from the same year, Spotlight feels like it’s after the truth, just as much as the journalists at its center.

Using natural lighting, imperfect takes, and casting actors according to their strengths gives the movie a cinéma vérité feel that is all the more affecting.

McCarthy leaves dramatic moments to characters rather than formulating the plot around shocking reveals or twists.

The entire ensemble — which Open Road has stressed in their campaign, the word ensemble — is at their career bests. John Slattery is perfect in his follow-up to Mad Men in a role that may feel similar but allows him to flex a muscle he’s been honing for the years the show has been on air. And while Michael Keaton and Mark Ruffalo have been receiving the bulk of the acclaim of the actors on the Spotlight team, Rachel McAdams steals the… well, spotlight. Controlled and assured, her performance is an anchoring calm that lets the story take the forefront.

And that’s what makes Tom McCarthy’s direction so smart. Its restraint allows its subject to shine. The performances give it the time it deserves. Instead of dramatics, Spotlight feels so character driven.

Spotlight tells the story that started the story. In today’s media environment, the role of the press has been both challenged yet as important as ever. The reverence that the movie has for the journalistic process is not only admirable but essential. It goes against anything that we’ve been forced to understand in film nowadays — bigger, louder, more tears, less emotion. However, Spotlight finds itself the best when the script doesn’t try, the actors don’t act, and camera just follows. Spotlight stays with you, if not for the film, at least for the truths that it uncovers.

It reminds us that we deserve the truth, it just takes someone (or someones) to uncover it.

Where to watch Spotlight:

More movies, less problems

Hey! I’m Karl. You can find me on Twitter here. I’m also a Tomatometer-approved critic.

💌 Sign up for our weekly email newsletter with movie recommendations available to stream.

Karl Delossantos

Website | + posts

Hey, I'm Karl, founder and film critic at Smash Cut. I started Smash Cut in 2014 to share my love of movies and give a perspective I haven't yet seen represented. I'm also an editor at The New York Times, a Rotten Tomatoes-approved critic, and a member of the Online Film Critics Society.