Spotlight focuses on a devastating turn of events which were ripe for melodrama, and instead turns out to be a spare, minimalistic entry that knows how to keep things close to the chest and still be deeply affecting. Director Tom McCarthy takes a fly-on-the-wall approach to his technique, showing us an intimate glimpse at what it no doubt must have been like for these Boston reporters as they brought to light one of the most sickening and heinous atrocities of our time, the sexual abuse scandal of the Catholic Church, which rotted through many a priest, parish and law firm who insidiously kept their mouths shut about the whole deal. For the reporters, ignorance was just not on the table, no matter what the consequences. Rachel McAdams is tender and fearless as Sacha Pfeiffer, a keen operative who is first to smoke out a lead, bringing it to her boss, the legendary Walter ‘Robby’ Robinson, (Michael Keaton), and the executive in charge of the paper, Ben Bradlee Jr. (John Slattery). The matter is brought to further attention by Marty Baron (Liev Schreiber), who arrives from out of state. It’s Mike Rezendes though, played by a stunning Mark Ruffalo, who drives the point home, refusing to give up and shoving loads of empathy down the throats of those who would look the other way. Ruffalo is note perfect, his determind sentiment delivered with compassion and impact that lingers. He hounds diamond in the rough lawyer Mitchell Garabedian (Stanley Tucci hides the sympathy behind the sass) to allow him access to the victims, giving him something concrete to go on. The bitter side of the lawyer coin comes in the form of Eric McLeish (underrated Billy Crudup), a passively belligerent guy who is anything but cooperative until the hammer comes down. Richard Jenkins proves that he can turn in excellent work with nothing but his voice, playing a source who is heard only via phone calls. Keaton is brilliant, bringing the laid back nature and giving the character an easy listening style Boston accent. McAdams mirrors the hurt in those she interviews with eyes that echo years of suffering. Tucci comes the closest the film gets to comic relief, and then veers into dead serious mode as he realizes his character is in control of lives with the info he has, snapping to rigid attention. Watch for work from Jamey Sheridan, Len Cariou, Brian D’Arcy James and Paul Guilfoyle as well. The film arrives at its destination free from obvious emotional fireworks, on screen text or sensationalism, elements which often permeate true life stories. It’s simple, to the point, grounded and diligent to story, character and truth. That approach makes it all the more shattering.