Spotlight is a frontrunner of 2016's awards race. It is a good film, it doesn't try too hard, and it isn't groundbreaking but it tells the groundbreaking story. Set in Boston, a group of investigative journalists uncover the vast extent and depth of a story that shocked the world: priests molesting young children. The original newspaper expose was a Pulitzer-winning discovery, and the film is a fitting, compelling tribute to journalism, and smart documentary-drama.

The Spotlight team of the Boston Globe specialise in getting to the bottom of stuff. After a new addition to the newspaper in the form of top editor Marty Baron (Liev Schreiber, a man with a fantastic poker face), an outsider's perspective leads the team to a story that actually has a history within the paper but was never properly followed up. And there are reasons too, associated with legal cover-ups and - shock horror - Church cover-ups. Thus, the story is unraveled and it turns out it's a whole lot bigger than anyone could have imagined.

In the same way the journalists took months making sure they 'told the story right', so too does the film. It's slow and gradual, not overly emotional but delicate, and transitions through jumps in time seamlessly. Day to day activities are told in a way that is still somehow compelling. The film handles things carefully but doesn't shy from hardhitting facts. There is a sensitivity amongst topics that will shock you, even though you are fully aware before even watching the film because it's not new news for you. One of the main things that will make you despair is how this was never uncovered sooner.

In any 'true story' film, it is easy to add elements of false Hollywood elaboration for entertainment, but Spotlight doesn't really ever stray from plot. In fact, most spouses of the main characters aren't even given a face (although perhaps this is an indication of what being married to your job looks like). I mean, you can smell the desperation, and Mark Ruffalo can be singled out; the camera loves close-ups of his agonised face. If this is an accurate portrayal of the Boston Globe journalists, I have to really admire and respect them. Sometimes you forget this fighting, dedicated spirit of journalists - and in this case, it's not just doing anything for a story, but doing everything to make sure the story is told the way it absolutely deserves to be. A story so powerful it won't be repeated. Is this the power of true journalism?

Just like any story, there were possible leads throughout the film that got the sensationalist tabloid in me thinking up bizarre twists. Like, this character has a secret agenda. This man on the phone is a fake. But the truth is, the story being told is completely crazy enough on its own. The truth - that's a key ingredient in this film, but more importantly, it's about the truth not being hidden or settled or covered up or pushed under the carpet. It's hard to imagine that it was, but the film continually reminds us that this was a devastating reality.

Supported by superbly strong performances and a no-nonsense excellently executed script, the story is allowed to take centre stage under the spotlight. Yup. Director Tom McCarthy has done a fantastic job bringing life to it all, aided by a very impressive ensemble cast which includes an utterly committed Ruffalo as reporter Michael Rezendes, a multi-faceted Michael Keaton as editor Walter 'Robby' Robinson, Rachel McAdams as smart savvy Sacha Pfeiffer, and other great performances from Stanley Tucci and John Slattery and more. In fact, there are so many characters I kinda lost track of names and who they even were. McAdams and Ruffalo have also been recognised for Oscar-nominated performances. and deservedly so. Add in the clever editing and subtle-but-fab score from Howard Shore, and a 2 hour film felt like a year (in a good way). Sure, it can feel a little dry at times but maybe that's the feeling of using your full concentration during a film that isn't Inception.

The film is highly critical of the church, but as a system, not just the individual priests. Writing as a Christian, I wouldn't defend the whole thing. It's inexcusable and has nothing to do with Christianity. A victim in the film points out that the issue lies with the institution, but it does not affect his faith. The nature of the film (ie. trusted priests all around the world committing crimes of sex abuse on children, only to move to another church and cover it up despite people knowing) challenges and disgusts you to the very end.

The storytelling is pretty simple, but the story is more complex. Frequent readers of this blog will have noticed that drama isn't my usual go-to film, but I can't really fault Spotlight and it really is a story that had to be told. There is an empowerment about telling and sharing your story. and no longer being afraid to do so. I think this is a key takeaway for all situations, whatever they may be. Polished and straightforward, the film is an ode to good old-fashioned journalism pre-social media times, and sure does what the team originally set out to do. It shines a Spotlight on the issue in a truly unforgettable way.



Spotlight is released in the UK on 29th January.