SPOTLIGHT directed by Tom McCarthy (USA, 2015)
Holy shit! Never has this exclamation carried more significance.
Based on actual events (isn’t everything?), the shit uncovered by the Spotlight team of fearless reporters of the Boston Globe at the turn of the Millennium indeed had the holiest of stenches.
The Roman Catholic priests in Boston who molested and abused young boys and girls turned out the be the tip of a dung heap of global proportions. As the credits roll, the printed list of subsequent cases found in parishes around the world is enough to make Jesus and the rest of us mere mortals weep.
Anything which widens the scope of the negative publicity against the hypocritical church establishment is welcome but I doubt that the Pope is quaking in his satin slippers after seeing this lackluster movie. In toning down the sensationalist elements of the story, it becomes more of a celebration of investigative journalism than a full-blooded indictment of this holy disorder. Continue reading
BRIDGE OF SPIES directed by Steven Spielberg (USA; 2015)
As a self-confessed movie nerd I can’t get enough of the ironic post-modernism to be found in directors like David Lynch, Wes Anderson and Jim Jarmusch. I identify strongly with the cynical and often surreal gaze they direct towards the modern world.
In my book, The Coen Brothers fit squarely into this category so it comes as something of shock to find Ethan and Joel’s names (alongside British playwright Matt Charman) on the screenwriting credits for Spielberg’s very conventional drama. Apparently, their remit was to add some zip to a story which, with shades of Fargo, is “inspired by real events”.
Lawyer James B. Donovan played by Tom Hanks is the decent, upstanding all American family man appointed to defend the devious Russian spy Rudolf Abel (Mark Rylance) in what is initially conceived as little more than a show trial.
I suspect it is the Coens who came up with the best line in the movie when, in response to Donovan’s comment that Abel never seems to worry, the spy asks “Would it help?” This is funny the first time around, but when he poses the same question on two further occasions, it loses its novelty value. Otherwise, the script is tight and workmanlike although has none of the wisecracks or lively verbal exchanges you come to expect in Coen Brothers movies. Continue reading