Spider-Man: Homecoming

“Spider-Man: Homecoming” takes cues from “Deadpool” and is a superhero movie on the outside of The Avengers looking into the genre.

Spider-Man HomecomingI’m aware that Spider-Man was a thing well before “Deadpool,” either the comic or the movie, but there’s no denying that this latest reboot owes a great debt to the Merc with a Mouth. “Spider-Man: Homecoming” has the same wise-cracking, clumsy superhero in full spandex but with a PG rating. And in both cases, Spider-Man and Deadpool are superheroes on the outside looking into the genre, and that’s a pretty good spot to be in.

If Marvel had their way from the beginning, Spider-Man would’ve been the flagship Marvel Cinematic Universe character from the get-go. But he was a property of Sony who had already gone through one bad reboot, with a 30-something Andrew Garfield trying to pass as a high school student. So Marvel worked around him, and they found a clever way to cross over the character into “Captain America: Civil War.Continue reading “Spider-Man: Homecoming”

The Founder

John Lee Hancock’s story of McDonald’s founder Ray Kroc lacks the flavor and commentary of what “The Social Network” was to Facebook.

The Founder PosterI can imagine a sleazy, slick talking huckster pitching the idea for “The Founder” now: Let’s make a movie about a capitalizing asshole who stole an idea from two entrepreneurial brothers, but let’s wrap it in a sunny package and sell it as a story for the whole family! We’ll remind people how hard work and financial loopholes can help you build an empire on the backs of somebody’s namesake, and we’ll call it a crowd-pleaser. Do you want fries with that too?

“The Founder” is to McDonalds what “The Social Network” was to Facebook, except director John Lee Hancock lacks the irony and social commentary that someone like David Fincher could bring to this material. He’s all wrong for it, and “The Founder” needs more spice and flavor if it wants to be anything but bland. Continue reading “The Founder”


Thomas McCarthy’s film retells how the Boston Globe uncovered the Catholic Church sexual molestation scandal.

Spotlight Poster“Spotlight” may be the only journalism movie actually about journalism. “All the President’s Men”, this film’s closest companion, is about seeing in the dark and finding the needle in the haystack. “Ace in the Hole” is about escaping a trap through sketchy ethics and deceit. “Sweet Smell of Success” is about power achieved through words, wit and gossip. “Citizen Kane”? Well, that’s about a lot of things.

Thomas McCarthy’s film is not a thriller, a caper, a neo-noir or a melodrama. It does not have an ominous villain, a series of disturbing threats as the conspiracy unravels, or any suspense set pieces. Like “All the President’s Men”, “Spotlight” is a movie of hunches, discovery, research and hard work. The film embodies the philosophy of slow journalism, and it endlessly piles and escalates its stakes until finally both the journalists and us have a real story. A good journalist knows there’s always a follow-up to be had, there’s always more questions to be asked, more digging, and “Spotlight” just keeps going.

McCarthy’s film is the story of how the Boston Globe uncovered a series of child molestation cases among Boston priests, a revelation that eventually stretched far beyond Boston and all the way to the Vatican. The Spotlight team that uncovered the scandal started under the prodding of their new editor-in-chief, the stoic and emotionless Marty Baron (Liev Schreiber). A priest was accused of molestation, and there’s a suggestion that Boston’s Cardinal Law may have known about it, leading the paper to sue the church and try and find the deeper story.

Michael Keaton plays Spotlight’s editor Walter “Robby” Robinson, and when we first meet him he’s giving a goodbye speech to a retiring editor just before Baron has arrived. “What the hell do you know,” he asks jokingly. These guys can smell a story, and as his team (played by Mark Ruffalo, Rachel McAdams and Brian d’Arcy James) starts to ask questions, their obstacles are not only those who want to keep quiet, but their colleagues who are professionals, who have been around and know that many of these angles have already been done.

McCarthy’s screenplay along with Josh Singer (“The Fifth Estate”) is so perceptive to the journalism industry. These characters have persistence, they listen, and they constantly clarify. One of their sources even barks at them, “Why do you keep repeating everything I say?” And when they reveal their initial findings to senior editor Ben Bradlee Jr. (John Slattery), he reacts in the same straight-faced enthusiasm the audience is thinking: “90 fucking priests?”

And yet “Spotlight” is so sharp and tense because it avoids the bastions of many journalism films. “Truth”, starring Cate Blanchett and Robert Redford is currently in theaters, and “Spotlight” never even utters the word. It doesn’t try and position journalists as noble men and women exposing corruption and scandal; they’re just doing their job. Only occasionally do they allow moral high ground to take over and remind themselves that kids are being raped, but time and again they withhold reporting until the full story is told. When all is said and done, Baron congratulates them with the praise, “A story like this is why we do this, but we have to get back to work.”

McCarthy is more interested in the subtle ways this investigation gnaws away at these characters’ psychology. “Spotlight” is a film as much about losing faith in religion and belief as it is uncovering the truth. McAdams’s Sacha Pfieffer can’t look her church-going aunt in the eye the same way. James’s Matt Carroll has a priest living a block away. And Keaton’s Robinson ultimately takes the weight of the lives at stake onto his own shoulders.

Such complexity in characters is essential for an ensemble piece like this, and “Spotlight” has a stellar one. Mark Ruffalo is relentless and enthusiastic in the part, but he’s calm and likeable when doing his job, and we can feel the stress he’s exerting when he finally lets loose in a rage. Keaton is a mile away from the bigness of his “Birdman” work but feels right at home, modest and reserved but with a rumbling and subtle Boston accent that makes him feel like a local and a veteran. Schreiber is the biggest surprise, monotone to the point that he can’t be read. He withholds his words and hints that he’s harboring a vendetta against the church, but Schreiber’s work is too good for us to peer inside that vault.

“Spotlight” is all soft shades of blues and tight, carefully constructed static shots that give the film a docu-realistic, testimonial quality. Unlike the dark, even surreal flavor of “All the President’s Men”, “Spotlight” is neutral in both its themes and its aesthetics.

The sting of the Catholic sexual molestation scandal has dissipated since the story first broke. “Spotlight” and its shocking credits stinger will surely reignite that attention. But “Spotlight” is a journalistic film about objectivity. There are still questions to be asked and work to be done.

4 stars

Side by Side: Birdman and Whiplash

“Birdman” and “Whiplash” are both technically impressive films about characters looking to feel they exist

All throughout cinema history we see protagonists who wish to be remembered, who wish to become something great. Marlon Brando said in “On the Waterfront”, “I coulda been somebody. I coulda been a contender!” Their means for greatness are always different, but their ends are never the same, and it lets us know just what kind of movie we’re watching.

Two films released this month that are both receiving Oscar buzz but are miles apart in terms of tone and style have protagonists who share these feelings of greatness in their own ways and to their own ends. “Birdman Or (the Unexpected Virtues of Ignorance” and “Whiplash” are fiery dramas that lead to realizations that some of the things in life that feel most real and make people feel most alive, are pain and death. Continue reading “Side by Side: Birdman and Whiplash”