While Gordon Willis’s cinematography turned All the President’s Men into a neorealist symphony of surveillance and shadows, director of photography Masanobu Takayanagi goes for something more unobtrusively televisual with Spotlight, McCarthy burying any discernible visual “style” behind the more pressing issue of script and story. Precise detail aside, there’s little of Pakula’s cinematic panache on display here. With its convincingly mundane scenes of journalists bashing phones, knocking on doors and trawling through dusty records, Spotlight inevitably draws comparison with Alan J Pakula’s All the President’s Men. Initially reluctant to pursue sealed documents that could implicate the holy hierarchy in an overarching scandal (“You want to sue the church …?”), the journalists soon find themselves locking heads with both the religious and legal institutions at the heart of a wide-ranging, systemic cover-up.
As alienated from Boston’s sporting heritage as from its deference to the Catholic church (“So he’s an unmarried man of the Jewish faith who hates baseball?”), Baron sets the Globe’s investigative “Spotlight” team on an old story about John Geoghan, a retired priest around whom accusations of child abuse multiply. Now, in the Oscar-nominated Spotlight, McCarthy and co-writer Josh Singer give us the true story of how the Boston Globe, under its first Jewish editor, out-of-towner Marty Baron, took on the entrenched abusive institutions of the church in a city where Catholicism is a way of life and police and priests are thick as thieves.Īfter an ominous 1976 cop-shop prologue, we move to the offices of the Globe in 2001, where the somewhat brittle Baron (Liev Schreiber, downplaying it with aplomb) arrives amid whispered talk of job losses. In 2007’s The Visitor, Richard Jenkins’s widowed college professor strikes up a life-changing bond with the family of a Syrian immigrant who has unexpectedly moved into his Manhattan apartment. His first film as writer/director, 2003’s The Station Agent, starred Peter Dinklage as a Hoboken exile who moves into an abandoned train depot seeking solitude and becomes an unexpected catalyst for change. That might not be overly comforting on paper, but on film Rashed brings some juice as a pass rusher and really had a great game against the Jaguars as a run defender.A ctor-turned-filmmaker Tom McCarthy has always been a low-key champion of the outsider. With a sizable hole on the depth chart, Rashed has a real opportunity in front of him to earn a spot on the 53-man roster as a depth linebacker behind the likes of T.J.
His strong play elevated him into some first-team reps at Monday’s practice at the UPMC Rooney Sports Complex on the South Side prior to the release of Avery. Since stepping into the mix with the Steelers, Rashed has garnered some attention from the coaching staff for his play on the field, especially against the Jacksonville Jaguars Saturday in the second preseason game of the year. While the Steelers raised some eyebrows and caused some confusion with the move, the decision by GM Omar Khan and head coach Mike Tomlin to move on from the veteran defender (at least for now) has opened the door for a young pass rusher the team has been intrigued by since claiming him off waivers from the New York Jets following the released of linebacker Ulysees Gilbert with an injury designation.
The Pittsburgh Steelers made a shocking move Tuesday as part of roster cutdowns to get to 80 players on the active roster, cutting ties with perceived OLB3 Genard Avery, opening up a massive hole on the roster once again.
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