Movie Emporium

Drive was the film of the year
Gosling was the man of the year
Oscars continue to suck

JS

Following on from Jamie’s review yesterday, here are my thoughts on Shame.

Shame is a movie that will undoubtedly split the audience into lovers and haters. Void of a traditional linear structure, Shame is more reminiscent of a piece of art as opposed to a ‘cinema blockbuster’ in the truest sense of the words. This film brings you right into the fold, instantly making you the voyeur on the life of the main character Brandon (Michael Fassbender, X Men First Class) and his sexual exploits.

Steve McQueen directs the film fearlessly, with long lingering shots that make you pay attention to the finest of details of the movie. Shot on many occasions in beautiful hues of soft light, and in others, stark clinical flurocesant lights, the mood of the time is translated not only by the superb cast, but also by the cinematography.

Definitely not a movie for the fainthearted or easily impressed, the film touched me with it’s a ability to tell a story without ever addressing it, always skirting dangerously around the edges and just crossing the line of what we find acceptable and testing the audiences nerve. I found myself captivated throughout, not just because of the way it was so expertly shot but because I was on a knife edge, waiting to see what would happen and more importantly to find out what once did happen.

If for no other reason than the fact that you won’t see another film like this for a long time, make sure you hit the cinema and catch this in all it’s glory. It will make you want to look away, it will make you a little uncomfortable, but it also captivated me, floored me with it’s beauty and left me in awe for days after watching it. 

@vickyhinault

1. The Artist
2. A Separation
3. Drive
4. Tinker Tailor Soldier Spy
5. The Tree of Life
6. We Need to Talk About Kevin
7. Melancholia
8. Shame
9. Margaret
10. The Descendants 

Drive and Shame are without a doubt up there for me from that list so let us know what you think?

@vickyhinault

I’ve just read this on Empire regarding Expendables 2 (http://www.empireonline.com/news/story.asp?NID=32917)…

““In Expendables 2, there was a lot of vulgar dialogue in the screenplay. For this reason, many young people wouldn’t be able to watch this. But I don’t play in movies like this. Due to that I said I won’t be a part of that if the hardcore language is not erased. Producers accepted my conditions and the movie will be classified in the category of PG-13.” 

Who made this ridiculous steaming poo of a statement?

CHUCK FUCKING NORRIS

Firstly - “I don’t play in movies like this”?!?!?! He was a hero of OTT, gratuitous action films of the 70’s/80’s hence why he got the fucking call!

Secondly - “Young people wouldn’t be able to watch this”!!!! WHAT!? Expendables ONE saving grace is it’s brutal violence harking back to the macho action films golden era in the 80’s. Since when did Arnie, Sly, Willis or Lundgren give a tiny rats ass what kids weren’t allowed to watch??  I hope they’re all bullying the shit out of this douche tomorrow

This has angered me greatly - Chuck Norris, you are officially a big old vagina head

JS

Had a mixed experience with Shame last weekend.

The story centers around Brandon Sullivan (Michael Fassbender), a man suffering from a rather severe case of sex addiction. His existence is given a dramatic shakeup with the abrupt arrival of equally damaged sibling Sissy (Carey Mulligan). With his formally private place to feed his habit breached alongside dealing with a douchebag of a boss, Brandon quickly begins to unravel.

Although it looks stunning, the score is amazing and it’s filled with top notch performances Shame is, unsurprisingly given the subject matter a tough film to take any enjoyment from. Fassbender has said in interviews that he hoped to get across the message that his character doesn’t like himself very much. Job well done sir.

The opening scene for example finds us on the subway. Catching the eye of an attractive passenger, an awkward tension quickly wracks up as Brandon, eyes filled with a cold self loathing is helpless to look at her as anything but a fix. Condemning himself to a life of solitude, this is a man seemingly unwilling to accept or show affection. Relationships go as far as counting cash out for prostitutes, or punching credit card numbers in for web cam strippers. He doesn’t talk much either - Brandon always seems preoccupied with his addiction, only focusing it seems when there is the opportunity to satisfy his cravings demonstrating a clinical charm reminiscent of Dracula.  His sister, harboring some sinister internal demons of her own is at the opposite end of the spectrum screaming out for affection. The scenes these two share are bubbling volcanoes waiting to explode, which invariably they do with dramatic consequences. 

The unrelenting and draining weight of Brandon’s addiction never really lets up over the course of the film, however it is undeniably powerful and gives a brutal insight in to an addiction that is possibly misjudged by many (I know I had). Fassbender injects such a forlorn and desperate streak through his character, you genuinely hope he can find some form of recovery or salvation before the credits roll.

But, remember this is a McQueen/Fassbender film so don’t go in expecting gumdrops and rainbows…

JS