Positioning is the key difference here, and context. Where The Program's preoccupation focused almost entirely on the mechanics of Lance Armstrong's personal doping, often to the detriment of the larger story, Spotlight's focus is the development of the story itself. The the eponymous team of investigative journalists (Mark Ruffulo, Rachel McAdams, Brian d'Arcy James and Michael Keaton taking on real life reporters Mike Rezendes, Sacha Pfeiffer, Matt Caroll and editor, Robby Robinson, respectively) set their own deadlines and choose their own targets, deep diving into complex local issues at hand. Their work methods allow for comprehensive coverage of the surrounding issues. Most importantly though, John J. Geoghan, the priest (initially the only priest) at the centre of the scandal, is not a participant in the story. Indeed, as the Globe's new editor (a best supporting actor worthy Liev Schreiber) presses in the midst of the story's cancerous growth, Geoghan is not important. Go after the system is his firm dictate.
Spotlight's target becomes the cassocked, unimpeachable, soul-staining system of the Catholic Church. The film's central question, one it wrestles with along with its protagonists, is how could this have gone on for so long without anybody taking action? That's not a comfortable conundrum to watch, nor is it easy to see the Cassandra-complexed victims come forward with their frantic testimonies and accusations of editorial inaction reaching back years. But McCarthy navigates the inherent turmoil appropriately. His mindset is best described as pragmatic anger.
Spotlight pumps along like any solid newspaper procedural, with looming deadlines, source trackdowns and parrallel court cases (here headed by a bristling Stanley Tucci). McCarthy's no frills sensibility focuses the film making tightly on the task at hand, giving the film the hungry momentum need to push through the brewing emotional storms. McCarthy's ability to eschew grandstanding both in his screenplay (written in collaboration with Josh Singer) and his technique, serves everyone well, especially the cast who (with the possible exception of Ruffalo's affected twitching and a pointed "moment") deliver their roles in complete service of the film. If Spotlight delivers anyone awards, it will be a real team effort.
I know the Catholic Church is a resilient beast. Shit tends to slide right off it even after all these years. Spotlight is probably not going to make them any less popular in the eyes of those who have willfully blinded themselves to the piled-high evidence of the systemic cover up of child rape. Like the feature article that spawned it, or the royal commission still underway here in Australia, Spotlight serves to reinforce the extent of the spiritual and physical destruction the Church has wreaked on its own.
No need to score points here. This is a film that does exactly what it needs to. Difficult as that is.
★★★★
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