This morning I saw Spotlight, starring Mark Ruffalo and Michael Keaton.
When Marty Baron (Liev Schreiber) arrived at The Boston Globe, he thought it could do better. He urged his "Spotlight" team of investigative reporters to pursue a story about a priest accused of multiple counts of sexual abuse. They were hesitant because of their relationship with the church and the fact that the majority of their readership was Catholic. He told them to do it anyway.
Reporter Mike Rezendes (Ruffalo) enthusiastically accepted the challenge. He visits the lawyer that represents several of the church's victims and quickly realizes that they're only scratching the surface. His boss, Robby (Keaton), is supportive, but cautious.
As the investigation continues, they are met with several roadblocks: the interference of the church; the lack of cooperation from a key lawyer; records that are sealed. They work day in and day out to overcome these obstacles, getting to a place where they're almost ready to reveal their findings and then 9/11 happens. The exposé has to be put on hold.
Of course, those who remember the headlines in early 2002 know that they did in fact get to tell their story, and it did instigate a shake-up in the Catholic church.
Though I remember the articles and knew the ending before going in, I was glued to my seat for the duration of the film, riveted by every scene. Like the legendary All the President's Men, following the footsteps of the reporters in what feels like real time really gets the blood pumping. With each new fact they reveal, you wonder what will come next and who or what will stand in their way from sharing it.
The acting is superb—especially Ruffalo, who is so believable as a quirky East Boston journalist, it's hard to remember he was ever The Hulk.
I'll be stunned if this isn't an Oscar favorite come awards season.
~~~
Showing posts with label journalism. Show all posts
Showing posts with label journalism. Show all posts
Sunday, December 13, 2015
Thursday, January 29, 2015
Citizenfour
Tonight I saw the documentary Citizenfour, created by Laura Poitras.
The film documents Edward Snowden's journey in leaking information about the National Security Agency (NSA) to the media, thus igniting a firestorm of controversy that rippled across the world.
I'll admit—when I first heard about Snowden's leaks, I had mixed emotions. Part of me thought he seemed like a brat who probably just wanted attention (and could have taken a more appropriate path to reveal what he knew); the other part of me silently hoped he was just an attention-seeker, because if he was revealing the truth, our country was in real trouble.
Over time, after reading up on the case against him and hearing about how extensive the surveillance was (is) on all of our American communications, I couldn't help but think he's a hero with a noble cause. After seeing this movie, which is admittedly biased in his favor, I still think his actions took courage.
What was most frightening was how quickly the authorities moved in on his girlfriend, the journalists investigating his claims, etc. Being a whistleblower is dangerous; loving a whistleblower or helping them blow said whistle is undeniably risky.
I appreciated the candor of Snowden in this film, and the way that Poitras virtually took herself out of the narrative unless she was reading their correspondence aloud.
Whatever side you're on as an American (or as a foreigner who may also be affected by such intrusions of privacy), this film is powerful enough to give you pause.
~~~
The film documents Edward Snowden's journey in leaking information about the National Security Agency (NSA) to the media, thus igniting a firestorm of controversy that rippled across the world.
I'll admit—when I first heard about Snowden's leaks, I had mixed emotions. Part of me thought he seemed like a brat who probably just wanted attention (and could have taken a more appropriate path to reveal what he knew); the other part of me silently hoped he was just an attention-seeker, because if he was revealing the truth, our country was in real trouble.
Over time, after reading up on the case against him and hearing about how extensive the surveillance was (is) on all of our American communications, I couldn't help but think he's a hero with a noble cause. After seeing this movie, which is admittedly biased in his favor, I still think his actions took courage.
What was most frightening was how quickly the authorities moved in on his girlfriend, the journalists investigating his claims, etc. Being a whistleblower is dangerous; loving a whistleblower or helping them blow said whistle is undeniably risky.
I appreciated the candor of Snowden in this film, and the way that Poitras virtually took herself out of the narrative unless she was reading their correspondence aloud.
Whatever side you're on as an American (or as a foreigner who may also be affected by such intrusions of privacy), this film is powerful enough to give you pause.
~~~
Wednesday, October 29, 2014
Nightcrawler
Tonight I screened Nightcrawler, starring Jake Gyllenhaal and Rene Russo.
Lou Bloom (Gyllenhaal) is an aspiring breaking-news photographer in Los Angeles who covets a relationship with Nina (Russo), a news director at a local station that's suffering in the ratings.
Though he has no formal training, Bloom is confident that he's a quick study, and begins to apprentice professionals already on the job—without their permission. He soon becomes good enough to get some clips on the air and hires a homeless assistant, Rick (Riz Ahmed), who is as desperate for employment as Bloom is for success.
The trouble is, Bloom doesn't seem to have a conscience when it comes to reporting. Ethics aren't what advances a photographer's career, so he focuses on the things that do: bloody crime scenes and accidents in suburbia. His methods cross the line of appropriate and his negotiating tactics, for more money and more recognition, are beyond reproach.
Scene after scene, Gylenhaal impresses us as the dangerous kind of narcissist that can't see beyond his own ego. His hollow smile coupled with his sharp, yet condescending lectures show a level of crazy that we haven't seen before in the actor. Perhaps what's so frightening is that he seems such a natural fit.
Russo matches his level of energy as the boss who will risk everything to keep her job, even if it means rewarding reprehensible behavior.
To add to the fun, the dialogue will make you angry at yourself for partially appreciating Bloom's wit, and oddly (sometimes) even rooting for him to get to the story first. After all, he's working hard for it.
Of course no matter of warped charisma or set of brass balls can excuse the evil that sneaks out when anyone puts humanity second to their own pursuits.
It's just a shame that our society is presently so twisted, none of this seems too far-fetched to be believable.
~~~
Lou Bloom (Gyllenhaal) is an aspiring breaking-news photographer in Los Angeles who covets a relationship with Nina (Russo), a news director at a local station that's suffering in the ratings.
Though he has no formal training, Bloom is confident that he's a quick study, and begins to apprentice professionals already on the job—without their permission. He soon becomes good enough to get some clips on the air and hires a homeless assistant, Rick (Riz Ahmed), who is as desperate for employment as Bloom is for success.
The trouble is, Bloom doesn't seem to have a conscience when it comes to reporting. Ethics aren't what advances a photographer's career, so he focuses on the things that do: bloody crime scenes and accidents in suburbia. His methods cross the line of appropriate and his negotiating tactics, for more money and more recognition, are beyond reproach.
Scene after scene, Gylenhaal impresses us as the dangerous kind of narcissist that can't see beyond his own ego. His hollow smile coupled with his sharp, yet condescending lectures show a level of crazy that we haven't seen before in the actor. Perhaps what's so frightening is that he seems such a natural fit.
Russo matches his level of energy as the boss who will risk everything to keep her job, even if it means rewarding reprehensible behavior.
To add to the fun, the dialogue will make you angry at yourself for partially appreciating Bloom's wit, and oddly (sometimes) even rooting for him to get to the story first. After all, he's working hard for it.
Of course no matter of warped charisma or set of brass balls can excuse the evil that sneaks out when anyone puts humanity second to their own pursuits.
It's just a shame that our society is presently so twisted, none of this seems too far-fetched to be believable.
~~~
Sunday, December 08, 2013
Philomena
This morning I saw Philomena, starring Judi Dench and Steve Coogan.
In the 1950s, it was shameful to be a pregnant teenager in Ireland. For a girl who was brought up by Catholic nuns, it was unspeakable.
When it happened to Philomena Lee (Dench) in 1952, the nuns punished her by working seven days a week, allowing only one-hour visitations with her son Anthony (Tadhg Bowen). She loved him dearly and lived for the special—if not limited—moments she had with him.
At age 3, Anthony was adopted by an American couple from St. Louis, Mo. Philomena was never given the chance to say goodbye. She kept his existence a secret for over 40 years, though she kept in regular touch with the convent in case Anthony ever came looking for her.
Once her daughter found out about her missing brother, she enlisted the help of Martin Sixsmith (Coogan), an out-of-work journalist with the investigative skills to track him down.
The film covers this true journey from start to finish, adding in unnecessary Hollywood embellishments, but thankfully that doesn't hurt its effectiveness. As depressing as the subject matter may be, it's a pleasure to watch.
Dench is simultaneously tragic and charming as Lee, showing the the pain of what she had lost with every glance. Coogan is also perfectly cast as the journalist who is at first in it for himself, but soon develops a genuine compassion for the mother.
As with all true stories, this one is being told too late, but there is hope that the conversations it will spark my soon make a difference in the practices of the church and the perception of sin in Ireland.
~~~
In the 1950s, it was shameful to be a pregnant teenager in Ireland. For a girl who was brought up by Catholic nuns, it was unspeakable.
When it happened to Philomena Lee (Dench) in 1952, the nuns punished her by working seven days a week, allowing only one-hour visitations with her son Anthony (Tadhg Bowen). She loved him dearly and lived for the special—if not limited—moments she had with him.
At age 3, Anthony was adopted by an American couple from St. Louis, Mo. Philomena was never given the chance to say goodbye. She kept his existence a secret for over 40 years, though she kept in regular touch with the convent in case Anthony ever came looking for her.
Once her daughter found out about her missing brother, she enlisted the help of Martin Sixsmith (Coogan), an out-of-work journalist with the investigative skills to track him down.
The film covers this true journey from start to finish, adding in unnecessary Hollywood embellishments, but thankfully that doesn't hurt its effectiveness. As depressing as the subject matter may be, it's a pleasure to watch.
Dench is simultaneously tragic and charming as Lee, showing the the pain of what she had lost with every glance. Coogan is also perfectly cast as the journalist who is at first in it for himself, but soon develops a genuine compassion for the mother.
As with all true stories, this one is being told too late, but there is hope that the conversations it will spark my soon make a difference in the practices of the church and the perception of sin in Ireland.
~~~
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