This film demonstrates that you don't need guns to make an exciting thriller. Based on a true story, this is a journalistic procedural following a team of newspaper writers who take on a corrupt system. The outcome is well-known (they won a Pulitzer Prize and launched the global investigation into child abuse by Catholic priests), but the film is still utterly riveting, beautifully written and played to perfection.
In 2001, the Boston Globe's investigative Spotlight team is working to report the biggest stories in the city. So newly arrived senior editor Marty (Liev Schreiber) asks them to find out if there's truth to rumours that the local Catholic Archdiocese is covering up abuse. But he's unaware that the church controls the city, and the Spotlight writers (Michael Keaton, Mark Ruffalo, Rachel McAdams and Brian d'Arcy James) quickly encounter heavy resistance from the establishment. As they persistently dig deeper, they realise that the story is exponentially bigger than anyone thought it was. Two lawyers (Stanley Tucci and Billy Crudup) prove to be crucial in this process, as the team works to prove that the Cardinal (Len Cariou) has been covering up abuse for decades.
Cleverly, writer Josh Singer and writer-director Tom McCarthy never play this story for its salacious details. Instead, they focus on the people involved, which gives the film a strong sense of what's at stake here and the urgency of getting the story exactly right. It's a rare movie that can maintain this balance, gripping the audience and building suspense without ever tipping over into sensationalism. And the filmmakers bring out some strong emotional resonance in sensitive conversations between the journalists and the victims. All of this is expertly played by actors who stir in personal details without letting their characters' side-stories interfere with the larger narrative. They also resist the temptation to overplay the material, letting the facts of the case provide every gut-punch.
Continue reading: Spotlight Review
Guest , Steve Golin - Celebrities attend The 21st Annual Critics' Choice Awards at Barker Hangar. at Barker Hangar, Critics' Choice Awards - Los Angeles, California, United States - Sunday 17th January 2016
Steve Golin , Guest - Premiere of 20th Century Fox and Regency Enterprises' 'The Revenant' held at TCL Chinese Theatre - Arrivals at TCL Chinese Theater - Hollywood, California, United States - Wednesday 16th December 2015
Keira Knightley continues to open up as an actress with this sparky comedy. As in Begin Again and The Imitation Game, she taps into her own lively personality to create a punchy character who's loose, likeable and prickly. And while the film has a warm, engaging tone that's often both honest and funny, it also feels somewhat contrived as it pushes Knightley's character into corner after corner. As with films like Humpday and Your Sister's Sister, director Lynn Shelton takes a spirited idea and ends up playing it oddly safe.
It's set in Seattle, where Megan (Knightley) is in her late-20s, horrified to see her close circle of friends settling down into predictable lives involving marriage and children. So when her longtime boyfriend Anthony (Mark Webber) proposes, just as she discovers that her dad (Jeff Garlin) has cheated on her mom, Megan makes a run for it. At a convenience shop, a group of teens asks her to buy some alcohol, and suddenly she has a new best friend in Annika (Chloe Grace Moretz). As they bond, Annika invites Megan to stay at her house. So Megan invents a story about attending a self-help conference and lays low, hanging out with her new teen gang like it's the good old days. But Annika's single dad Craig (Sam Rockwell) begins to challenge Megan to realise that perhaps there are benefits to growing up.
Yes, it's obvious from the moment Megan and Craig start bickering where this is headed. And these predictable plot turns feed into the standard rom-com structure of the screenplay, right up to climactic scenes at both an airport and the prom. There isn't a single surprise along the way, but Knightley's breezy performance is more than enough to carry the audience with her on this odyssey. Effortlessly charming even when she's being a jerk, she develops a wonderful improv-like chemistry with both Moretz and Rockwell, while the bit players add plenty of texture to each episodic sequence.
Continue reading: Say When [Laggies] Review
With an apocalyptic asteroid strike due in three weeks, Dodge (Carell) wonders why he's still going to work at his dull insurance firm. Then he runs into Penny (Knightley), distraught because she's broken up with her boyfriend (Brody). Dodge wants to revisit his childhood sweetheart, while Penny wants to see her parents in Britain. And Dodge knows someone with a plane, so they team up. Along the road, they get help from a trucker (Peterson) and Penny's survivalist ex (Luke). But with the world ending, their priorities begin to shift.
Continue reading: Seeking A Friend For The End Of The World Review
In 1988 Barrow, at the top of Alaska, aspiring reporter Adam (Krasinski) stumbles across three whales trapped beneath the icecap. Unable to reach the open sea, there's just a tiny hole in the ice that lets them breathe. Adam's report goes viral, grabbing the attention of America's press as well as his Greenpeace-activist ex Rachel (Barrymore). And the rescue effort will require an L.A. journalist (Bell), military pilot (Mulroney), Inuit boy (Sweeney), whale expert (Nelson), oil baron (Danson), White House rep (Shaw), two chuckleheads from Minnesota (LeGros and Riggle) and the Russian Navy.
Continue reading: Big Miracle Review
After a nervous breakdown, Walter (Gibson) is struggling to get back into his role as CEO of a toy company, husband to Meredith (Foster) and father to two boys, smart 17-year-old Porter (Yelchin) and curious young Henry (Stewart).
When Walter finds a beaver puppet, he has an epiphany, letting the beaver say what he's afraid to say. While this helps reinvigorate his business and adds a lively twist to his family life, it's not exactly a permanent solution.
Continue reading: The Beaver Review
Remember that TV show Heroes, where something happens maybe every 15 episodes to advance the storyline? Cleaner is kind of like that but condensed into a movie. The movie beats around the bush for about half an hour before it actually introduces a conflict; the rest of the 90 minutes is filled with Samuel L. Jackson yelling at various people until we finally encounter a twist at the very end. The "surprise" ending is so contrived and underwhelming you'll want to take a nap after sitting through this film to recover your soul from horrendous boredom by dreaming up something more interesting.
Continue reading: Cleaner Review
CIA watchdog Corrine Whitman (Streep) sets up the titular protocol when evidence is uncovered against Chicago family man and chemical engineer Anwar El-Ibrahimi (Omar Metwally), Egyptian by birth. Whitman suspects that El-Ibrahimi had a hand in a recent bombing of an unnamed North African tea house; an attempt on the life of North African security head Fawal (Igal Naor). Fawal heads the "interrogation" with CIA analyst Douglas Freeman (Jake Gyllenhaal) there as counsel while they electrocute, drown, beat, and strangle Anwar to give up information on the attack.
Continue reading: Rendition Review
In Babel, directed and co-written by Alejandro González Iñárritu (21 Grams, Amores Perros), a clutch of characters from a range of cultures and walks of life attempt to build a towering film of meaning from coincidence and portent; unfortunately, in the end it is the viewer who is punished for the filmmaker's hubris.
Continue reading: Babel Review
Wild at Heart was puzzling, because it was screwed up and it was hard to figure out why. Time - and, 14 years later, the DVD release - helps to clear up that central enigma. Based very loosely on Barry Gifford's novel, this manic, Southern Gothic road movie now seems too deliberately weird. And in retrospect the cause seems to be that its creator, a strange man if the available evidence of his films is to be believed, and one who then was only recently revered as a certain type of genius, was trying so hard just to be himself.
Continue reading: Wild At Heart Review
For the first time, LaBute is not directing from his own script, which might explain why, if I didn't know better, I would have sworn I was watching a Coen brothers movie. Who else would put a fantasy dancing sequence on the edge of the Grand Canyon at night?
Continue reading: Nurse Betty Review
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