WASHINGTON KUOW [audio] By BILL RADKE & MATT MARTIN Bill Radke talks with Mary Dispenza, director of SNAP (Survivors Network for those Abused by Priests) in Seattle, about her reaction to "Spotlight" winning Best Picture at the Oscars Sunday night.
The movie tells the story of how Boston Globe reporters uncovered a massive child abuse cover-up by the Catholic Church.
Every scene, every shot, every line of dialogue, every pause is so hypnotically composed, so luxuriously overdeliberate, that the audience can’t help but assume that Refn knows exactly what he’s doing — that he’s setting us up for the kill.
He is, but not if you’re on the lookout for a movie that makes sense. It starts off as a relatively scannable, user-friendly thriller, but it turns out to be a movie made by a macabre surrealist gross-out prankster.
Jesse (Elle Fanning), a peach-skinned ingenue with the ringlets of a blonde angel, shows up in Los Angeles just after her 16th birthday to launch a modeling career.
The jaded pinups she has to compete with are silky-voiced cutthroat vipers who look like those android ice princesses out of the ’80s Robert Palmer videos, and they act even nastier than they look.
Nutty as it was, however, “Only God Forgives” did have a few indelible moments (like Ryan Gosling dolefully submitting to getting his hands chopped off), and it suggested that Refn might just possess the operatic fearlessness to create a spellbinding horror film.
It’s called innocence, or erotic authenticity, or that can’t be achieved by a mere combination of Olympian genetics, plastic surgery, and breast implants.Jesse, as the head of her modeling agency (Christina Hendricks) informs her, has the makings of a star.