Spotlight(in Hollywood Movies) Spotlight (2015) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Spotlight on your mobile, tablets and ipads
Plot: The true story of how the Boston Globe uncovered the massive scandal of child molestation and cover-up within the local Catholic Archdiocese, shaking the entire Catholic Church to its core.
Runtime: 128 mins Release Date: 25 Nov 2015
One of the greatest horror films of all time (by A_Different_Drummer)
... because by the time the credits roll and you start to breathe normally again, you will suddenly realize that this was not a horror film as such, this was a re-enactment of events that actually happened, with real victims and real perpetrators and real well-meaning third parties covering up the whole thing as fast as the body count kept piling up.And then you will once again have difficulty catching your breath.As a film it is superb. McCarthy who did double duty as writer and director deserves acknowledgement. The cast is universally excellent. Ruffalo gives the performance of his career, <more>
Keaton is solid as a rock, and McAdams reaps overdue dividends from her decision to broaden her career into non-glamorous roles at a time when the only scripts they were sending her were for Diva parts. Smart lady.A reviewer is not supposed to interject personal feelings in a review but I will say without apology that I miss films like these -- films that speak for the injustice in society and offer solutions -- and wish there were more of them. It seems that when I was younger there was a lot more interest in doing the right thing merely because it was the right thing. This no longer seems to be the societal meme, and that troubles me.A must-see.
Flat Out Remarkable! Possibly the Year's Best! (by ClaytonDavis)
Seconds after the credits for Tom McCarthy's "Spotlight" roll, an overwhelming feeling of changing your career takes over. Is film criticism really where I belong? What important, life-changing story am I not writing about? Truth is, quite a bit of classic films give off that same feeling. "Rocky" made a bunch of our fathers and older brothers go for a morning run and drink raw eggs. "Rudy" made us want to go out and play Notre Dame football. "Spotlight" makes you want to go down to your local courthouse and search the public records for clues. <more>
Then, get on the phone, with a pen and a pad, and start asking some really tough questions. Honestly speaking, "Spotlight" is the best investigative news drama this century. Matter of fact, behind "All the President's Men" and maybe "The Insider," it's among the best ever made."Spotlight" tells the true story of how the Boston Globe uncovered the massive scandal of child molestation and cover-up within the local Catholic Archdiocese, shaking the entire Catholic Church to its core.Where you must begin, with any praise for the film, is the audacious and fortifying script by Tom McCarthy and Josh Singer. The two create cinematic magic in their articulation of words, characters, and narrative storytelling. Each person feels authentic. Each scene feels rich and equally important as the last. And most of all, its the tightest, most satisfying film from beginning to end, seen this year. From minute one, you're hooked, up until the last second, where they decide the last words spoken should be, "Spotlight" is astonishingly crafted.I'm still in shock and awe that Tom McCarthy is the one who made this. This is a writer/director who I've appreciated but didn't have the "love" factor surrounding any of his films. Paired with an outstanding cast, co-writer Josh Singer, editor Tom McArdle, cinematographer Masanobu Takayanagi and composer Howard Shore, Tom McCarthy gets a chance to create his masterpiece and succeeds. He makes brilliant artistic choices, such as letting a Mark Ruffalo letter reading play over a 2-minute taxi car ride back to the newspaper. McCarthy's direction is one of the best directorial efforts from any filmmaker this year thus far.All the players performing are top-notch but walking away, best-in- show, is the performance of Academy Award nominee Mark Ruffalo. Ruffalo exhibits his best screen performance to date, and makes a stake in his claim for the Oscar this year. Weirdly reminiscent of Joaquin Phoenix's work in "The Master," Ruffalo builds his 'Mike' from the feet up, giving him his own characteristics that I'm not sure McCarthy and Singer set out to do. His expressions in words, mannerisms, all encapsulate the magnitude of his work, bookended by an explosive scene that brought tears to my eyes. Think back to Emma Stone's acclaimed work in "Birdman," and the scene that made everyone notice. I wanted to simply applaud.Michael Keaton and Rachel McAdams, who play "Robbie" and "Sacha" respectively, are attune with their characters and destinations. Each bring strong sensibilities and sensitivity to their roles that desperately call for them. Hotly worked into the story is Liev Schreiber as a newly appointed Editor, that in the little screen time he's given, makes a long-lasting impression. Stanley Tucci is also afforded the same opportunity, and gives one of the film's best monologues.If there's a film this year that feels like an Oscar-winner, "Spotlight" sure does make a compelling case. Dramatic, heart- pounding, and necessarily made. It's one of the most important films this year and probably THE BEST PICTURE OF THE YEAR. The Telluride tradition may continue.
Wonderful drama about the importance of investigative journalism (by lrbhsr)
Everything about this movie is outstanding -- the performances, the way the true events are handled, the cinematography. In this day of digital news, this movie makes us stand back and realize what we may lose in the way of investigative journalism as we slowly kill off print media.The lengths the directors go to to achieve a sense of authenticity is remarkable. We are there in Boston in 2001-2002. We get to know enough about each character to make him or her real, but not enough to create side dramas. The focus remains the child abuse scandal in the archdiocese in Boston. That reflects the <more>
conflict the characters face and deal with when events make them rethink the focus of their article.The movie is riveting, though we know the outcome.
Greetings again from the darkness. Faith. A word that easily could have been the title of this gripping and heart-wrenching film. Faith can be defined as trust and belief. Faith can also be defined as religion and ideology. Few things are more devastating than broken faith the core of this "based on actual events" story of The Boston Globe's exposure of rampant child molestation by dozens of Catholic priests, and the systematic cover-up by "The Church".It's challenging to name a movie that is as well-made as this one, while also being as difficult to watch. We <more>
know the story we even know how it snow-balled globally but the raw emotions of disgust and sheer anger permeate much of our being as we watch it unfold on screen. Director Tom McCarthy The Station Agent, The Visitor co-wrote the script with Josh Singer The Fifth Estate and it's worthy of favorable comparison to other investigative newspaper films like The Insider 1999 , Zodiac 2007 , and even the granddaddy of them all All The President's Men 1976 .The opening scene takes place in a 1976 Boston police station. A priest has been accused of molesting a child. Within a couple of minutes we witness the empty promises, the intimidation, and the cover up. So much is conveyed in this brief opener, not the least of which comes courtesy of the ambivalence of the veteran cop as he shrugs it off as 'just another day' in front of an idealistic rookie cop. This is accompanied by Howard Shore's spot-on score, with the best parts featuring only a piano and bass.Flash forward to 2001 as we meet the investigative journalist team called "Spotlight". It's led by editor Walter "Robby" Robinson Michael Keaton and his three reporters: Mike Rezendes Mark Ruffalo , Sacha Pfieffer Rachel McAdams , and Matt Carroll Brian d'Arcy James . They report to Ben Bradlee Jr John Slattery , whose father was the editor of The Washington Post during the Woodward/Bernstein/Watergate era. New to The Globe is managing editor Marty Baron Liev Schreiber . Unlike the others, Mr. Baron is neither a Boston local nor a Catholic. In fact, we catch him reading Dan Shaughnessy's book "The Curse of the Bambino", just so he can get a better feel for the community and its people.What is most fascinating about the movie is that it focuses on the investigative aspects – just how diligent the reporters were in putting the story together – and how fluid the process was the story led them, not vice versa. There was no media agenda to "get" the church. Instead, the reporters experienced natural shock as each piece of the puzzle was discovered. One of their key sources was a priest-turned-psychologist voiced by Richard Jenkins who helped them put scope to the numbers. Another was Phil Saviano Neal Huff , the leader of a victim's group, who had tried before to provide documentation to the press. Saviano is the perfect example of how someone so passionate about a cause can be viewed with such skepticism right up to the point when they are proved correct. Three attorneys add perspective to the cover-up. Eric Macleish Billy Crudup made a career of settling cases and silencing victims for the church. Mitchell Garabedian Stanley Tucci is the polar opposite – he fights vigorously to get the victims heard, while Jim Sullivan Jamey Sheridan is caught in the middle – settling cases for the church and struggling with his conscience. Other interesting characters include Paul Guilfoyle as Pete Conley, a smooth-talking power-broker for the church, and Len Cariou as Cardinal Law – the man at the top who eventually apologized and was rewarded with a high-ranking position at The Vatican.The film is so well crafted and acted that it features more than a few "best scenes". Sacha has a brief encounter with a former priest on his front door stoop. The priest freely admits to molesting kids and his rationalization will certainly deliver chills to most any viewer. Since this is Boston, it makes perfect sense for the reporters to be so distracted by the story, that it supersedes the Red Sox game they are attending at Fenway Park. Being that the investigation lasted well into 2001, it's quite informative to watch a news agency shift directions for the September 11 tragedy, and along with the nation, put all else on hold. Finally, there is a point in the movie where we as viewers have just about had our fill of extreme emotions – we either need to hit something or throw up – and reporter Rezendes comes through with exactly what is needed: an emotional outburst and release of exasperation rivaling anything previously seen on screen. It's a wonderful moment for Ruffalo as an actor, and a peak moment for viewers.The story hit the front page of The Boston Globe in January 2002. The paper won a Pulitzer Prize in 2003 for its superlative investigative journalism. The report vindicated so many who had been taken advantage of, and exposed the colossal arrogance of the church. The innocence of a child vs the power of God. The story broke the faith that so many once held, and started a global as evidenced by the closing credits reckoning and awakening that was desperately needed. The film offers a line of dialogue, "It takes a village to raise a kid or abuse one." In other words, it took the often silent actions of so many to allow this despicably evil horror to continue. In a tribute to the newspaper profession, it took a small group of dedicated reporters to pull back a curtain that should never again be shut. Let's have faith in that.
This is why modern civilization is based on freedom of press (by sadra-216-234807)
"Spotlight" is one of the best realistic and serious movies of recent years. I don't want to tell the story, as you will watch it soon or later, but I want to admire the movie and the content itself. Instead of falling into the stereotypical hero and anti-hero type of movies, the movie narrates the story with realistic characters, sensual REALISTIC emotions and incredibly depicts the integrity and handwork of the Boston Globe investigation team. The acting of Mark Ruffalo and Michael Keaton are great. Finally, the movie does not fall into the category of twisty blockbusters but <more>
a realistic movie about an important subject that anyone will admire.
In the past 5+ years, I've read articles about the decline of cinema and the great successes of Television. There's no denying that there have been some wonderful TV/web series in recent years, but I think a film like Spotlight is the refresh button that moviegoers have been looking for. The story is compelling, the acting is unnoticeable, and the script seems to flow the way a real conversation would. The writers and director of this film are the "Spotlight" of filmmaking, opening up a sensitive story that people acknowledged but probably couldn't imagine on screen, and <more>
they brought it to us in a way where I felt all the emotions of someone finding out the truth for the first time. I watched Spotlight at the Zürich Film Festival and after 2 hours, thought it ended too soon. The only negative thing I could think of was that those French & German subtitles were really getting in the way. Maybe next time, the director could remove those ;
Spotlight is the Best Film of 2015 (by Danusha_Goska)
"Spotlight" is the best film of 2015 and I will be disappointed if it does not receive the Academy Award for Best Picture. As good as it is, it is just one step short of greatness. "Spotlight" depicts Boston Globe reporters investigating priest sex abuse of children. "Spotlight" focuses like a laser on what it is to be a journalist, to consider whether or not to cover a story, to select it, to research it, to uncover piece-by-piece, a full narrative, to publish it and to live with the consequences of publication. You don't learn about the reporter's <more>
personal lives except for what you see incidentally as they work at home. There is no romantic subplot; there are no trumped-up action scenes where a reporter punches a priest. There's actually one of those scenes, no doubt a self- conscious salute to classic newspaper films, where you see newspapers being run through one of those giant machines that rapidly prints, folds, and stacks hard copies. I've never seen a film in which I liked these actors more: Mark Ruffalo, Michael Keaton, Rachel McAdams, Live Schreiber, John Slattery, Brian D'Arcy James, Stanley Tucci, Billy Crudup, Len Cariou. Lesser known actors in minor roles are every bit as good. There is no Hollywood in these performances. There's no sexy costumes or makeup, no grandstanding for the Academy. The actors are dressed in the workaday attire of newspapermen and women. Much of the film takes place in a grubby shared office full of sloppy manila file folders or in cafes and working class neighborhoods where informants are interviewed. Each performer plays a cog in a giant wheel working to uncover evil. None of them knows about world-shaking scandal still to come, or Pulitzer Prizes. They are just, with a pair of tweezers, turning over one leaf and seeing what lies beneath and adding that to the information already gathered. Even though viewers already know how this story played out in real life, the audience gasps when a discovery is made; the audience fears that a rock will be thrown through a window; the audience fears that judicial complicity will keep the story hidden. I began crying half an hour into the film. I was crying at the end. I made audible "Huh!" noises at especially and outrageously ironic moments, as did others in the audience. We applauded at the film's conclusion. The film opens with a child in a police station, accompanied by his parents and a priest. A lawyer enters. Everyone speaks in hushed tones. "I promise this will never happen again." The police are cynical. The lawyer is smooth. The child is crushed. The parents are heartbroken. The priest appears slickly demonic. The scene is anonymous. Events like this were repeated at least a thousand times. July, 2001. The Boston Globe acquires its first Jewish editor, Martin Baron. The Spotlight team is considering following up a case of priestly sex abuse. Slowly but surely, they discover that there are far more incidences than suspected. They discover not just one bad apple here and there. Rather, Cardinal Law has reassigned abusive priests to new parishes. Baron meets with Law. Law presents Baron with a copy of the Catechism of the Catholic Church. "Spotlight" mentions "Good Germans" – people who kept their eyes closed to the disappearance of their Jewish neighbors, and the sudden appearance of ash falling from the sky. Just so, there were many "Good Bostonians." It's sickening to confront the many who had awareness of priestly sex abuse and did nothing. Targeted kids were powerless and without allies. One had a schizophrenic mother. Some had absentee fathers. Some were gay. Many were from the wrong side of the tracks. After they were abused, some became alcoholics, drug addicts, or suicides. When SNAP activist Phil Saviano is invited to the Boston Globe's office, and he talks about a conspiracy to protect abusive priests that stretches all the way to the Vatican, he comes across as a twitchy, obnoxious, conspiracy theorist raving about Area 51 – someone easy to write off. The most nauseating reason of all given for ignoring clergy sex abuse: money. The Globe could have covered clergy sex abuse earlier, but it didn't. Over fifty percent of the paper's subscribers are Catholics. Boston is a small town, with a lot of insular Irish Catholics who don't want anyone rocking the boat, or risking various money streams, including the church's significant charity work. Especially poignant are the scenes where abuse survivors are encouraged to detail what happened to them. "It's not enough to say he molested you. You must give me the clinical details of exactly what happened," reporters insist, to sobbing survivors, who must then re- inhabit their worst memories. The plot churns forward with the single line of a freight train running on schedule. I was never bored. The priestly sex abuse crisis is not a tragedy because the Catholic Church is corrupt. The priestly sex abuse crisis is a tragedy because the Catholic Church is great. The film could have become better than it is had it included this theme. Show Catholics feeding the homeless. Show Catholics recovering from grief with the support of their faith. Show Cardinal Law for what he once was – a courageous hero in the Civil Rights movement, when that meant receiving death threats and alienating the powerful. That something so beautiful is so sullied, along with individual victims' pain, is the heart of this tragedy. I am a lifelong, church-going Catholic. I present my reasons for being Catholic, in spite of everything, in my book "Save Send Delete." I salute, not boycott, the Globe's reporting, and films like this. Confession and redemption are gifts we shared with the world.
Exceptional Movie About Reporters Reporting (by gregsrants)
The awards season may just have found its first forerunner. In a 2015 movie year that has been average at best without any standout films initiating awards conversation, Tom McCarthy's Spotlight rising above the heap to assert itself as one of 2015's best.With an all-star cast including Michael Keaton, Mark Ruffalo, Rachel McAdams, Live Schreiber, John Slattery, Stanley Tucci and Billy Crudup, Spotlight shines a light on a 2001 investigation by The Boston Globe's on the sexual abuse within the Catholic Church.Michael Keaton plays Walter Robinson who leads the Globe's <more>
investigative unit with Michael Rezendes Ruffalo , Sacha McAdams and Matt Carrol Brian d'Arcy James . Under a new editor Marty Baron Schreiber , the team begins to unfold a horrific pattern of child sexual abuse by the church that was muted and covered up by high priced lawyers and payoffs to victim's families. As Walter probes further and further into the events the setting is after the events the 9/11 the investigation reveals layers and layers of injustice of Catholic Priests that were aided by the highest powers of the church in an effort to keep the story muted.It all starts with a featured column about Catholic priest John Geoghan who was accused of abusing over 100 boys. A civil suit is filed but the details of the abuse were ordered sealed by the courts. Schrieber's Baron puts the team of reporters on the case and within days the evil that lurked with the sacred rooms of local churches begins to reveal is foul and despicable face.The investigation goes on for months as the team hits roadblock upon roadblock taking one step forward for every two steps back. But the story eventually breaks and the emotionally exhausted team is eventually able to bring to light one of the more depressing and important stories of the early new century.Michael Keaton was really good in last year's Birdman and named himself many awards and an Academy Award nomination for his part. In Spotlight, he may be even better. Under the direction of Tom McCarthy Win Win, The Station Agent , Keaton shines and carries a performance of determination, frustration and redemption that is delivered with precision.Nods to All the President's Men will be inevitable. But that was a different era. A different movie. Spotlight is fresh and invigorating in its painfully frustrating subject matter. Audiences should leave with a renewed belief that investigative reporting is of monumental importance and that stories such as the one originating in 2001 Massachusetts are still out there clouded in red tape secrecy and muffled whispers. It is painful to watch at times. Trusted bonds between people, children, parents and the institution that promotes the opposite to what it sometimes preaches are disgusting revelations that are brought to the screen with sizzling effects.The entire cast from top to bottom is perfectly cast. And McCarthy doesn't populate his frames with unnecessary spectacular visuals. Spotlight is instead very straight forward. Focused and driven.Spotlight will be nominated for Best Picture and Keaton should get a nod for Actor. Ruffalo may also sneak his way onto ballot sheets. But whether Spotlight wins any hardware is unimportant as long as we recognize the importance of films such as these. A few years ago I would guess that 99% of the population knew nothing about the Iran hostage rescue highlighted in Ben Affleck's Argo. Spotlight should have the same effect acting as a docudrama that is both highly entertaining and educational at the same time. It is both a very good film and an important one.http://theintestinalfortitude.com/
A great dramatic film on a great story with a great ensemble. (by subxerogravity)
It feels to me like an hour long crime drama, like Law and Order: Special Victims Unit, except they are not cops, they're an investigative journalism team, very similar to the movie Truth, but instead of being TV journalist, they are members of the Boston Globe, but going up against just as powerful of an opponent The Church.Based on a true story, Spotlight is an investigative news column within the Boston Globe, who back in 2001 were ask to do a follow up story on a Priest caught molesting, a child, which open up a bigger conspiracy. It was gripping watching this team go after the <more>
story. One of the elements that was really intriguing is how long it actually takes for this team to compile this particular story. It took them mouths to finish the story, but it does not feel like mouths, cause they make the story they try to compile interesting to watch. Plus we get to know the characters on a personal level without getting too personal. Nothing takes us away from the main focus of the movie.Mark Ruffalo gives an impressive performance as Michael Rezendes. He was very intense and passionate and it comes off great, and was a great role for him. He stood out in a very interesting ensemble cast that included Michael Keaton, as the editor of spotlight supporting his reporters as they chase the story and Liev Schreiber, as the new editor and chief of the Globe, an outsider who saw a story that the others too close to home, did not. They're other great performances from Rachel McAdams and Stanley Tucci as well. Spotlight also makes Boston itself a charter, by using scenery to show what a small town it can be and how much of an influence the Catholic Church has on it. It hits all the right buttons without trying, that's a sign of good story telling. It brings you into a compelling story, well acted by a great cast that did great things together.