Did we really need another one of these? Tom McCarthy takes an interesting and important story and uses it as an excuse to make this bland, Oscar-baiting, paint-by-numbers office drama without the slightest bit of creative ambition. In a world where All the President's Men, The Insider, The Social Network, Moneyball, Zodiac, Zero Dark Thirty and Michael Clayton exist, this film had no reason to be made, spending its entire running time mechanically going through the motions, right down to the melancholic synths-and-piano soundtrack, though Spotlight would never dare to be as visually engaging as any of the aforementioned films, staying firmly on the wrong side of the line between stylistically understated and uninspired. Even Anchorman director Adam McKay shows far more interest in his subjects and his craft (and the world in general) with fellow Best Picture competitor The Big Short (which is basically Spotlight with a vision and a personality). Simply put, Tom McCarthy doesn't care about child molestation, he doesn't care about journalism, he doesn't care about the church, he doesn't care about the medium of cinema and he doesn't care about you. Rachel McAdams, Liev Schreiber and Brian d'Arcy James make the best of what the hackish script gives them though.