SPOTLIFE MOVIE TRIAL
Boston itself had just witnessed the criminal trial of a particularly notorious priest, Father John J. Newspapers from Dallas to Portland had done deeply reported stories on individual cases. The notion of pedophile priests was not new. (Photo by Kerry Hayes, Distributor: Open Road Films) At first, they stumble around, lacking the most basic information about how the church bureaucracy worked.įrom left: Michael Keaton as Walter “Robby” Robinson, Liev Schreiber as Marty Baron, Mark Ruffalo as Michael Renzendes, Rachel McAdams as Sacha Pfeiffer, John Slattery as Ben Bradlee Jr. As is often the case, the Globe’s group of reporters, known as the “Spotlight” Team, have no idea of the size and scope of what they’re trying to examine.
SPOTLIFE MOVIE MOVIE
One of the most credible aspects of the movie is the cluelessness with which the reporters begin their quest. Where liberties were taken, and there were a few, they are in line with the realities of the news business. The movie, which has been nominated for six Academy Awards including best picture, vividly captures the mix of frustration, drudgery and excitement that goes into every great investigative story. The reporter’s information came from miraculously well-placed sources – a sister who worked at Halliburton and a close friend who happened to be a junior BP executive attending all the key crisis meetings.Īll of this makes “Spotlight,” the film based on the Boston Globe’s investigation of the Catholic Church, a remarkable achievement. (Not a great career move.) More recently, the first season of HBO’s television series The Newsroom showed a producer landing a series of astounding scoops in the first hours after the explosion of the Deepwater Horizon. In the 1994 film “The Paper,” the city editor of a New York City tabloid gets into a fist fight with his female boss as he tries to stop the presses. Journalism movies have had their share of utterly improbable moments. John McClane, the hard-boiled cop in the Die Hard series, displays a supernatural ability to evade bullets. The car chases in The Bourne Identity defy physics. Rocky Balboa survives punches that would decapitate an ordinary boxer. Over the decades, Hollywood screenwriters have taken liberties with every imaginable profession and craft, from doctors to lawyers to spies to police detectives. There’s a moment in almost every movie when people in the audience who really know the line of work depicted on screen cry out in frustration and say: “Oh, come on!” “Absurd.” “Never happens.”
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