This is not your father’s Hamlet. The present melancholy Dane is son of the deceased chairman of Denmark Corporation. His castle is a sleek but alienating New York highrise dotted with omnipresent surveillance cameras, his kingdom city streets lined with paparazzi and tabloid reporters.
It shouldn’t come as a surprise that Wes Anderson returns to the world of stop-motion animation with his latest feature, Isle of Dogs. If you’re familiar with Anderson’s rigidly arranged chocolate-box technique, you can guess why animation appeals to him. For starters, it allows total control over the image, with nary a lock of hair (or piece of fur) out of place. Anderson’s fondness for squared-off, symmetrical compositions looks less strange in a cartoon (see 2009’s Fantastic Mr. Fox) than it sometimes does in live action. And with animation, Anderson can fully indulge his decidedly non-realistic style (stretched to its live-action limit in the dazzling Grand Budapest Hotel): he can exaggerate color, design, and behavior without literalists howling.
Here’s another theory about why Anderson returns to animation in Isle of Dogs: It gives him cover for making his most dramatic film yet.
Spotlight (Universal, Blu-ray, DVD, VOD) is the kind of film that takes on the Big Subject with modesty and self-reflection, drawing the viewer into the world of the reporters and culture of Boston in 2001 to better understand the scope of everything that’s at stake.
Spotlight is the story of the Boston Globe reporters who investigated history of abuse perpetrated on children by Catholic priests, a history that had spotty coverage in the paper over the years but was each time quickly forgotten, chalked up as another isolated case. It takes new editor Marty Barron (Liev Schreiber), someone from out of town who hasn’t grown up believing The Church an untouchable institution, to spur a serious look into what turns out to be a systemic issue. He assigns the paper’s investigative “Spotlight” unit—reporters Michael Rezendes (Mark Ruffalo), Sacha Pfeiffer (Rachel McAdams), and Matty Carroll (Brian d’Arcy James), and editor Walter “Robby” Robinson (Michael Keaton)—not all of whom are convinced there’s a story here. Until they see a startling pattern.
It’s got a big ensemble cast, but if you want a measure of what Spotlight does very, very well, keep an eye on the new guy. In the film’s opening minutes, new editor Marty Baron (Liev Schreiber) arrives at The Boston Globe. In Schreiber’s canny performance, Baron is woefully free of warm ’n’ fuzzies; he’s a blunt outsider in a clubby town—he came from Miami, for crying out loud. We spot him as a corporate stooge who will surely act as antagonist to the Globe’s band of reporter heroes, those hard-talking pros with their sleeves rolled up. In a story full of hard-won disclosures, Baron’s gradual emergence as a beacon of journalistic integrity and moral conviction is perhaps the movie’s subtlest revelation.