Don’t get me wrong. Spotlight doesn’t pretend to be anything other than what it is: a poignant investigative drama featuring a flawless ensemble performance. Yet it still runs as monochromatic as a newspaper feature.
There are complaints that Steve Jobs took too man creative liberties. Which means Spotlight stands on the opposite side of the spectrum. An audience could believe that the series of events surrounding the 2002 Boston Globe feature played out exactly as depicted on screen. So any sense of shock or discovery I though I might feel had already been spent back when the stories first broke. That doesn’t mean the movie’s boring. It just feels too familiar.
Following the recent less-than-perfect reviews for Revenant (it’s still gonna play hard) and questionable (or bad) reviews for Joy, Spotlight seems to be out-front in the Best Pic race. But should it be celebrated as the year’s definitive apex of our finest art form? I’d say no. A Best Pic nom? Certainly. And I expect the cast (particularly Ruffalo) and screenplay team to see continued recognition.
I still need to see check out Brooklyn and Carol. And, as mentioned in an earlier feature, I get the sneaking suspicion that Anamolisa could make a late surprise surge (if enough word gets out). But at this point, Steve Jobs and Room are the more vibrant, enthralling, and imaginative prospects to stand atop the best of film in 2015.