But Ronan’s only 21, and her performance is not quite as lived-in as Charlotte Rampling’s magnificent work in 45 Years, as a wife who discovers that the marriage she thought happy for decades might be a lie. It’s a deeply felt performance that deserves any honors it gets. Saoirse Ronan does carry Brooklyn in her role as a young Irish woman who must choose between two men (and two lives), one in the old country, the other in New York.
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She’s so good in the first half-when she plays a woman trapped in “room” with her young son-that one only wishes the second half weren’t so TV movie that Larson’s emotional honesty is given too little to do. Movies like Room do, which is why Brie Larson is probably the Oscar front-runner. As a crowd-pleaser, she’s rivaled by Melissa McCarthy, who’s virtuosically hilarious in Spy, but that’s not the kind of movie that ever wins awards. Without cheap-shotting anyone, the movie shows the tricky human truths of journalism that Spotlight leaves out-egotism, narcissism, careerism, paranoia, resentment, game-playing, and the unsavory side of getting strangers to reveal themselves.Īctress: Charlotte Rampling, 45 Years If you had to name the Most Valuable Actress, that would surely be Jennifer Lawrence, whose talent and watchability elevate the Hunger Games finale and prevent Joy from falling completely to pieces. Working from real-life transcripts, James Ponsoldt’s film explores the complicated encounter between a smart, ambitious Rolling Stone writer (Jesse Eisenberg in all his Eisenberginess) and genius novelist David Foster Wallace, played with revelatory skill by Jason Segel. If Spotlight offers a satisfying best-case fantasy of what journalism can be, The End of the Tour is the truest thing I’ve ever seen about the business of writing profiles (and I’ve written scads of them). Although uncinematic-McCarthy’s style resembles quality TV-the film offers a sharp procedural look at how reporters do their jobs, institutions cover their tracks, and the powerful squelch stories they don’t like. The Oscar front-runner, Tom McCarthy’s Spotlight, is a pointedly unflamboyant historical film about how, back in 2001, The Boston Globe’s “Spotlight” reporting team (played by Michael Keaton, Rachel McAdams, Mark Ruffalo, and Brian d’Arcy James) broke the Boston priest abuse scandal. Spotlight and The End of the Tour I know I’m cheating by naming two, but these movies belong together.
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