Sherlock Holmes - A Game of Shadows

MPAA (PG-13)  CNS/USCCB (A-III)  Roger Ebert (3 1/2 Stars)  Fr. Dennis (3 Stars)

IMDb listing -
www.imdb.com/title/tt1515091/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/11mv150.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20111214/REVIEWS/111219992

The action driven Sherlock Holmes: A Game of Shadows (directed by Guy Richie, cowritten by the husband and wife team Kieran and Michele Mulroney based on the Sherlock Holmes series of Arthur Conan Doyle) will certainly continue to annoy purists who with reason wonder why a Sherlock Holmes story told today would need explosions and fireworks and death defying leaps.

Be this complaint legitimate as it may, the current incarnation of Sherlock Holmes [IMDb] (played by Robert Downey, Jr) does bear characteristics of the old.  Like in the original, Sherlock Holmes is something of a "bohemian" / "renaissance man."  He's not afraid of trying things that are new, including, like in the original series, the occasional drug (like opium in the original series, or coca in the current -- Parents do take note), which today we know would be dangerous but in Sherlock's time (in Victorian England of the 1800s) would have been seen as exotic and potentially useful.  Holmes also retains his legendary powers of deduction.  However in the current series, this faculty is used by Holmes not only to use seemingly insignificant strands of information (evidence) to deduce what happened ("who done it?") but what is about to happen.  This ability to rapidly deduce what's about to happen, not only gets Holmes and often annoyed/incredulous partner Dr Watson [IMDb] (played by Jude Law) out of traps about to be sprung on them, it also gives this series set in the Victorian Era a post-Matrix feel.  Finally, Holmes' famous pipe makes an unmistakable comeback in this episode.  So as irritated as some of us "older fogeys" may be that the cerebral Sherlock Holmes has been given an "action-hero" make-over, it's not a total break and it's not totally without value.

So what is the movie about?  Set in 1895, the movie's about nothing less than saving European civilization from a war being instigated by Sherlock Holmes' archfiend, the brilliant Professor James Moriarty [IMDb] (played by Jared Harris).  Sure Europe's presented as a powder keg of nationalist tensions.  France and Germany are at each other's throats.  Additionally, there are anarchists in all countries seeking to bring the whole system down.  But below it all is (according to this story) James Moriarty who's quietly buying both armaments factories and medical supply firms all over Europe even as he bankrolls anarchists setting-off destabilizing but seemingly unrelated explosions in both France and Germany pushing them (and with them, the rest of Europe) to war.  Only someone like Sherlock Holmes, who notices details and relationships between details that no one else seems to notice, can prevent World War ... ;-)

In previous entries on this blog, I've written much about an annoying but apparent trend of politicizing children's stories this year.  Sherlock Holmes: A Game of Shadows is a film set in another time, but also with more-or-less obvious political implications.  Yet, I do believe that it is fair to seek to teach young people (teens and above) to think critically and to understand that "things are not necessarily always as they seem" that it ought not to be impossible to imagine that even a terrorist group (the contemporary equivalent of the anarchists of the late 1800s and early 1900s) could be bankrolled and directed by one or another arms merchant who could profit from war.  What was SPECTRE in the original James Bond series but a group of "industrialists" meeting in chalets in exotic locations like Switzerland plotting to destabilize the world for profit?

Now just because conspiracies are possible does not necessarily make them real.  Still, I do believe that it is useful/important for young people to realize that things are not always as they seem.  And even Jesus did spend a lot of time talking about and condemning "hypocrites."

So, while all kinds of people could have all kinds of objections (from literary to thematic) to the current Sherlock Holmes films, I do think that they are enjoyable and may help today's youth to think critically about the world around them.


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Arthur Christmas

MPAA (PG) CNS/USCCB (A-II) Fr. Dennis (2 Stars)

IMDb listing -
http://www.imdb.com/title/tt1430607/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/11mv144.htm

Arthur Christmas (directed and co-written by Sarah Smith along with Peter Bayhman) follows a fairly dismal trend of politicizing children's films.

And folks I'm not making this up.  When the rather dunce-sounding Mr. Santa of the movie (voiced by Jim Broadbent) comes home to the North Pole at the end of Christmas Eve and declares to his assembled elves "Christmas Accomplished" under a giant banner proclaiming the same (when later it is found that a child did not get her present, that indeed "a child was left behind...") what parent in the entire western world would not immediately know who the joke is on -- former U.S. President George W. Bush?

This film _is_ otherwise very imaginative and witty.  Since Santa's workshop "can't be seen on Google Earth," it's imagined to exist in a "secret base" under the Arctic Ocean where the North Pole is.  Further, since Santa would be quite old if he were delivering presents since the time of St. Nicholas (who lived in the late 200s-early 300s), it is imagined that a Santa family has been delivering presents to children for all those hundreds of years.  And once one is talking about a family, conflicts can be expected:

Grandpa Santa (voiced by Bill Nighy) resents the innovations brought in by his son, the current Malcolm Santa, and especially by the Santa in waiting, Malcolm's eldest son Steve (voiced by Hugh Laurie).  Steve had turned the delivery of presents into a virtual military operation complete with a new "stealth" virtual spaceship, rather than the old reindeer driven sleigh ... One _could_ wonder why with modern radar, we can't detect Santa's sleigh ... Well, it's thanks to Steve's "stealth technology." ... But Grandpa keeps talkin' about how it was "back in the day..." And he has a hoot when "With all that technology, you too still missed a child!  Why, back in 1942, during the height of World War II, I was being shot at by everybody... lost three reindeer that day ... but EVERY KID got a present that day."

Steve, for his part, can't understand why his dad just won't retire.  After all, he's been at it for 70 years and aside from driving the new 'stealth sleigh' (actually, it seems to be guided from Steve's 'mission control' at the North Pole anyway) dad Santa doesn't do anything except _be_ Santa, while Steve actually organizes everything.

Finally, there's younger son Arthur, who nobody really respects, but who's happy working in the "letter responding department" at Santa's workshop at the North Pole.  He's the one who brings it to the attention of Santa and Steve that a little girl named Gwen living in Cornwall, England didn't get the bike she had requested.

From this failure, the rest of the story unspools.  And here, I totally agree with the film's message: "If one kid doesn't matter, how can we be sure that _anybody_ matters?"  The elves ("the little people...") also get it immediately ... It just takes the rest of the Santa family a bit longer to figure it out.

Of course, it all works out well (ends happily ...).  I do think that the story was, on the whole, very, very nice.  I just wish the film makers had kept G.W. Bush out of it...

Finally, what's with the Santa family speaking with British accents?  For better or worse, the modern "Santa" tradition is a distinctly American one, born of the 1820s poem Twas the Night Before Christmas and if it had any European roots at all, those roots would have come from the old Dutch settlers of New York back when New York was called New Amsterdam.  

ADDENDUM -

Though more or less generally secular, the film did take an interesting spin in this regard: throughout the movie, members of Santa's family made repeated references to traditional, Christian Christmas carols.  I counted three such references: Silent Night, Angels We Have Heard On High (In Excelsis Deo), and Good King Wenceslas.  They were all made in passing, and in the case of Silent Night, not altogether respectfully.  Nevertheless, the references were there.


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The Skin I Live in (orig. La Piel Que Habito)

MPAA (R)  Roger Ebert (3 1/2 Stars) Fr. Dennis (3 1/2 Stars, w. parental warning)

IMDb listing -
http://www.imdb.com/title/tt1189073/
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20111019/REVIEWS/111019982

The Skin I Live In (orig: La Piel Que Habito), directed and cowritten by Pedro Almodóvar along with Agustín Almodóvar based on the novel Tarantula by Thierry Jonquet, is one strange if _supremely elegant_ horror movie that's certainly one of the best films of the year and ought to earn Pedro Almodóvar as well as Antonio Banderas, the film's "mad scientist" star, nominations for the Oscars.

I'm heaping all this praise on a film that is subtitled (from Castillian Spanish to English) and I know that we Americans generally despise subtitled films.  Yet, adults if you like horror films at all, leave the kids at home or put them to bed -- there's way too much nudity (if with a point) for a teen to rightfully see -- and go see / rent this film. 

So what's the film about?  Set in contemporary Spain, Dr. Robert Ledgard (played by Antonio Banderas) is a renowned cosmetic surgeon living in a palatial estate outside of Toledo (a scientist who has gone mad simply has to live in a castle ...).  As much fame and fortune as his work has given him, his life has been marked by terrible tragedies.  These accumulating tragedies apparently provide the trigger that finally make him snap and exact truly unspeakable revenge, specifically on the (date?) rapist of his sweet but already troubled daughter Norma (played by Blanca Suarez), the rapist's name being Vicente (played by Juan Cornet).

To say any more about the picture would reduce its shock value.   Again, there is _a lot_ of elegant "high art" nudity in this film.  So it's a movie intended for adults and _not_ "for the little ones."  Still, between this movie and Lars von Trier's Melancholia, 2011 has been a really good year for European cinema.


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New Year's Eve [2011]

MPAA (PG-13) CNS/USCCB (A-III) Roger Ebert (1 Star) Fr. Dennis (1/2 Star)

IMDb listing
CNS/USCCB review
Roger Ebert’s review
   
New Year’s Eve (directed by Garry Marshall, written by Katherine Fugate) is a highly commercial celebration of a highly commercial holiday, New Year’s Eve, which follows the formula used last year by the two film-makers to celebrate another highly commercial holiday, Valentine’s Day [2010].  Need one really say more?

As in the case of the previous Valentine’s Day, there is an ensemble cast and various separate and occasionally intertwining stories.  Hence the film was probably relatively easy to shoot, allowing the actors to “come into the studio” to shoot their scenes as their schedule permitted.  The script itself was certainly no Hamlet or Citizen Kane [1941] (nor was it intended to be).

I found the movie both intentionally and unintentionally propagandistic.

First, it was obvious to me that the film-makers wished to make an intentionally secular movie.  The only reference to the other major holiday around New Year’s came near the end when the nurse played by Halle Berry (African American) put on a gown and had a skype-conference with her African Americn soldier husband who was apparently stationed in Afghanistan.  Behind her in the scene and visible to her husband talking to her over the interent was a GIANT SIGN wishing him also a “Merry Christmas.”  That was the ONLY reference to Christmas in the entire movie, and I did find it significant that this reference took place in the context of two African American characters wishing each other a Happy New Year.  African Americans make-up the most church going community in the United States and it _may have been impossible_ to imagine that scene taking place without the Halle Berry character wishing her husband a Merry Christmas as well.

Further, the celebration of New Years with virtually no mention of Christmas (except for the scene above) comes across to me (a descendant of East European immigrants) as something remarkably similar to how these holidays were officially celebrated in the Soviet Bloc during the Communist era.  Indeed, in the Soviet Union, the Christmas Tree was renamed a “New Years’ Tree.”

Now this movie is far too much a celebration of contemporary New York commercialism to be accused of “communist tendencies.”  However, I’ve long seen little difference between Godless Communism and Godless Capitalist Consumerism.  In both cases, all meaning in life ends here.  In Communism, one perhaps seeks meaning in “the building up of man.”  In Capitalist Consumerism, meaning is offered in "assembling the largest collection of baseball cards..."  In any case, we religionists remind everyone that “you can’t take it you...”

Finally, while I suspect that the film-makers did not intend to do this, my many years of serving as a priest in multi-ethnic parishes makes me sensitive to this: It is clear-as-day to me that there is an obvious if perhaps unintentional racial bias that runs through the whole film. The whiter, waspier, blonder, more blue-eyed the character was in this movie (Hillary Swank, Katherine Weigl, Sarah Jessica Parker, Bon Jovi), the more likely the character was in a position of authority / celebrity.  All the more “service oriented” jobs (nurse, police officer, assistant cook, backup singer, repairman, it goes on ... and on ... ) were given to the browner and more “ethnic” people with longer last names, often speaking with very thick accents. 

I found this to be very surprising because it’s 2011 after all not the era of Gone With the Wind [1939] and  Casablanca [1942].  But such it is... and my sense is that 50 years from now, if anyone dug this movie up, our descendants would be embarrassed for our generation's media’s still more or less obvious racist assumptions.

So would I recommend this movie?  As an utterly soulless puff-piece perhaps.  But even then I think that most young people would find the implicit racism of this movie (blond white people in charge, the darker more accented people doing the actual work) rather appalling.


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Young Adult

MPAA (R)  CNS/USCCB (L)  Roger Ebert (3 1/2 Stars)  Fr. Dennis (3 1/2 Stars)

IMDb listing -
http://www.imdb.com/title/tt1625346/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/11mv152.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20111207/REVIEWS/111209991

The first thing that viewers should know about Young Adult (directed by Jason Reitman and written by Diablo Cody) is that though, IMHO, the film is excellent, it follows a trend of young adult oriented "comedies" that are both funny and "not really that funny" / "more than just funny." (One thinks of recent "comedies" / "rom/coms" like Love and Other Drugs [2010], The Dilemma [2011], Tyler Perry's Big Happy Family [2011], Something Borrowed [2011], One Day [2011], or 50/50 [2011]).  Sure there's plenty of humor in the film, but the humor's there to keep the audience engaged (and arguably not crying) as some fairly tough stuff is presented in the midst of the laughs.

Both Reitman (Thank You for Not Smoking [2005], Juno [2007], Up in the Air [2009]) and Cody (Juno [2007], Jennifer's Body [2009]) have made careers of humor that is often both funny and pointed.  And there has been a long tradition extending from medieval courts to the films of present day actor Robin Williams (of whom I've been a lifelong fan) where it was left to the "court jester" to bring-up matters (always indirectly and with a smile) which would have been difficult to impossible to talk about otherwise.

So Young Adult falls in this tradition of being both funny and "hey, wait a minute, wasn't this film supposed to be funny?"  And it is perhaps because of the serious aspects of the film that an often serious actress, Charlize Theron (Cider House Rules [1999], Monster [2003]), decided to take it on.

But let's get to the movie ... Young Adult is about late-30 something (no longer so young) former popular girl / high school beauty queen Mavis Gary (played by Charlize Theron) who had long ago left the small town (Mercury, Minnesota) of her youth for the glamour of the "big city" (Minneapolis).

Life in the big city hasn't altogether so glamorous.  True she's "made it" (sort of) as a writer and lives in a high rise condo.  But she lives alone, divorced; her condo's strewn with garbage as it's clear that she's working (as a ghost writer for a "past its prime" young adult romance series) under a great deal of pressure; and when she's not staring at her laptop or listening in on conversations (and picking-up new jargon) among teens/young adults of today (at fast food joints and malls) she's drinking, heavily.  But at least she's not living back home in Mercury, and she (by-and-large rightly) assumes that most of her former kinfolk and classmates remain jealous of her.

So what makes her want to return home?  Well, she gets a seemingly innocuous e-mail from her old high school flame Buddy Slade (played by Patrick Wilson) informing her and the rest of "the gang" that he and his wife, Beth (played by Elizabeth Reaser) just had a baby girl.  After years of not thinking much of her small town past, she decides to go back to Mercury, Minnesota to take back Buddy (even though he is clearly married and with a child) to "save" him from his "awful fate."  Is she nuts?

Much of the movie plays along with the thesis that she is radically self-absorbed and, yes, crazy.

The first person she meets, when she returns home is Matt Freehauf (played by Patton Oswalt) who she does not remember even though they had lockers next to each other through all four years of high school, and he certainly remembers her.  After much prodding she finally remembers, sort of: "Wait, aren't you the hate crime guy?"  He shakes his head somewhat in agreement and reminds her of the story.  During his junior year, he was savagely beaten up by "the jocks" (among them, her friends) because they thought he was gay.  It turned out that he wasn't even gay ("so it wasn't even a hate crime...") but the beating left him half-crippled and all but sexually impotent ever since (yes parents, though this is largely only discussed, the movie is rated appropriately R).

After this embarrassing and painful introduction after years of not having to think much about each other, Matt asks Mavis the obvious question: "What the heck are you doing back in town, now?"  She tells him of her plan.  Matt tells her the obvious: Buddy by all accounts seems happily married and now has a kid.  Matt and his mousy sister Sandra (played by College Wolfe) appear then repeatedly as the story progresses, playing the role of a traditional "Greek Chorus," repeatedly telling Mavis what we, the audience would like to tell her, mostly: "You're nuts, leave Buddy alone."  Of course she does not / can not ...

Near the end of the movie, we find out why Mavis can not let it go.  And it does make one want to cry and _may_ offer parents a teachable moment with their teens.  TO EXPLAIN, I HAVE TO REVEAL A KEY SPOILER but parents certainly should know and it actually enhances the value of the picture:  It turns out that "back in the day" (I don't remember now whether it was in late High School or College) Buddy had gotten Mavis pregnant.  Yet, three months into her pregnancy, she lost the child to a miscarriage.

Sex is often covered so superficially in the movies and on television, while "Mother Church" has always counseled caution with regard to premature (pre-marital) sexual activity (basically don't do it before marriage).  Here perhaps continuing where they left-off with Juno [2007] (another movie about teenage pregnancy) Reitman and Cody present another scenario that's both easily believable and heartrending: If miscarriage is difficult enough to deal with in the context of a happily married couple, how much more awful, difficult, confused this experience could be for a young woman, or couple, that had entered into the pregnancy outside the context of marriage and/or the maturity generally required to bring a child to term and then to raise him/her?  From my experience as a Catholic Priest in a parish, I can certainly attest to the fact that miscarriage can be a very difficult experience for even a married couple to deal with.

Thus a film that for the first 80% of it follows a "hah, hah, isn't she stupid, self-centered, etc?" trajectory becomes very different at the end. 

So congratulations Reitman and Cody (and Charlize Theron)!  On the other hand, if you were thinking of going to this movie for a "light evening" or "date"  think again.  There really isn't much that is "light" about it by the end.


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Rid of Me

MPAA (R)  Fr. Dennis (4 Stars)

Rid of Me (written and directed by James Westby) is an award winning, well written, well acted gem of an independent film reminding one of why seeing such films can be so much fun.  It played recently at Chicago's Facets Multimedia, and I'd recommend it to young adults and above to look for it when it comes out on DVD.  It's a movie that probably anyone who's ever tried really, really hard to fit in could probably relate to.

Meris Canfield (played by Katie O’Grady) was a sweet young homebody from Irvine, California who probably never had particularly high goals in life. She married a nice, good looking guy named Mitch (played by John Keyser) from Portland, OR who had been studying and was now working in Southern California.  She planned to live happily ever after as a happy home-maker.  What could go wrong?  Well a year and an half into her bliss, Mitch lost his job in Southern California and found a new one working for a friend from high school back in Oregon.  So the two pick-up sticks and move up to Portland.

It was a long, long drive from “sunny southern California” to the “rainy Pacific Northwest.”  Yet, when they arrive at their new apartment, they turn on the lights, and “Surprise!”  There’s the old gang of Mitch’s friends (minus one) wishing him a “Welcome home!”  After extended hugs with each, Mitch introduces Meris to them as “the Wife ...”

It goes down hill from there. At home at her and Mitch's while her husband's at work, she tries making friends with a nice soft-spoken Middle Eastern accented couple named Linda (played by Adrienne Vogel) and Masud (played by Melik Malkasian) with a baby girl (who always seemed to be about to take a nap, napping or just after taking a nap...) living in a nice home down the street.  She hits it off with them quite well.  They even tell her where she could get a small plot of land for free at a nearby community garden where she could start growing things again.  She's smiling from ear to ear. Yet when she tells "the gang" that she met this great couple that was so nice, she's told:  “OMG, is that the couple who’s home the FBI stormed like right after 9/11?  They took the guy, Messhud or something away like for a month for questioning!  Don’t be fooled, just because he doesn’t wear a rag on his head anymore doesn’t mean that he’s not Al Queda.’  Meris runs into soft-spoken, thoroughly western looking Linda and her daughter in the supermarket a few days later ...


Now Mitch and all his friends (male and female) were “jocks” (athletes) in school.  Meris liked to garden and cook.  She becomes an instant embarrassment when they sign her and Mitch onto their softball team.  No worries, "Just cook them a nice gourmet meal, honey.  Show them why I fell in love with you."  Nervous, she burns the main dish and "the gang" decides to order "pizza and beer" instead.  Embarrassed at her failure, she gets drunk and says a few things that she should not have in front of Mitch and his "gang" and she's dug herself into an even deeper hole. The next time "the gang" meets, a new person is invited into the mix ... Mitch’s old (and still single) flame Briann (played by Storm Large)...  Once again, only after extended touchy-feely “hellos” does _someone_ bother to introduce Briann to Meris. ... Mitch tries, sort of, to stand up for Meris (still his wife afterall) but the writing's on the wall.  One day, he comes home, early, and, with tears ... asks for a divorce.  The rest of the movie spools out from there...

Devastated and perhaps just numb with shock, Meris stays in Portland, moves into a 1 room studio apartment with simply a mattress on the floor for a bed and gets a job at neighborhood candy store.  She’s had little previous experience working, but perhaps because she did like to cook, this seemed like a pretty good fit.  Her two coworkers, both her age age are diametric opposites.  One’s a goody two-shoes named Dawn (played by Ritah Parrish) and the other is something of a gothic burnout named Trudy (played by Orianna Hermann) .  Perhaps because she’s so depressed, Meris eventually chooses to hang-out with Trudy, the burnout. 

Much still happens.  Meris keeps running into Mitch and his yuppier, jockish friends, who continue to make her feel like a loser.  But the sun does eventually come up after her long and awful dark night.  She finds a soft-spoken boyfriend who works in a neighboring record store.  Neither is going to make a whole lot of money but they’re both happy.  She also keeps Trudy and most of her gang as friends and even makes peace with Linda and Masud (who she only alienated on account of Mitch and his friends).

Her life becomes very different from anything she had expected it to be.  But between her new friends and her plot in the community garden that she had worked on throughout the film, she’s established roots and appears that she’s going to make it.

I loved this movie.  Parents, do note that the R-rating is fully appropriate.  Though much more is implied than actually shown, Meris’ dark night is very dark (involving some initially rather awkward sex, some drugs, a phase involving a lot of gothic clothing, heavy drinking, and a whole lot of tears).

I suppose what I liked most about this movie is that it reminded me of something that I've already known for some time: If someone is acting rather strange or anti-social (like dressing like a goth, abusing drugs and so forth), there's probably a story behind it...

Biblically, one is reminded of the Geremasene Demoniac who Jesus encountered "in a grave yard," who the people "had tried to chain, but now no one could hold down," who when asked by Jesus who was possessing him answered "Legion" (many things).  While everyone else was scared of him, Jesus had compassion on him, and set him free (Mark 5).

Thanks to this movie, I'll never look at a "goth" or a "punk" the same way again ...


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Shame

MPAA (NC-17) CNS/USCCB () Roger Ebert (4 Stars) Fr. Dennis (3 Stars)

IMDb listing -
http://www.imdb.com/title/tt1723811/
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20111130/REVIEWS/111139997

Shame (Fox Searchlight, directed and cowritten by Steve McQueen along with Abi Morgan) is a movie that I went to see with some trepidation, not for its rating (NC-17, entirely appropriate, more on that below) since a good number of reviewers (e.g. Roger Ebert above) had made it clear that Shame was a serious movie, but rather because I feared that its subject, sex addiction, would make it susceptible to banality in another way -- a banality of film-maker imposed guilt, yes, shame that could come across as forced.  Having seen the film, I do believe that for the most part, Shame avoided this second potential pitfall very, very well.

First let's deal with the rating, NC-17.  I do believe that the rating was appropriate but not because it showed more nudity than R-rated pictures.  IMHO the film did not show any more skin than a fair number of R-rated movies like The Reader [2008] starring Kate Winslet and David Kross/Ralph Fiennes, or that the film was any more intense / adult themed than say Black Swan [2010] starring Natalie Portman and Mila Kunis, films that gained Kate Winslet an academy award nomination and Natalie Portman a win.  The nudity presented in Shame was certainly de-glamourized, in line certainly with the basic theme of the film which was, afterall, about addiction to sex rather than any kind of romance.  But is making use of glamourized nudity to make a romantic point in a film somehow better/more wholesome than making use of de-glamorized nudity to make another equally intended point in a story?  If nudity has a place at all in film, its deglamorized use here seemed appropriate to the movie's plot/theme. 

Additionally, there is a fairly graphic (bloody) attempted suicide scene near the end of Shame that would disturb a good number of viewers.  But there was a very graphic / bloody scene in the recent film Limitless [2011] staring Bradley Cooper (obscenely rated PG-13 !!) in which the drug-addicted protagonist of that story was shown as stooping to drinking the blood of a villain he had just killed in hopes of sucking in a "hit" of the drug that he craved.

In my mind, ALL these movies should have been rated NC-17 or to give parents leeway at least be given a "hard-R" rating with said parents being warned that the images/themes presented would not be suitable for (or even comprehensible by) most teens.  I struggle to understand any of these films The Reader [2008], Black Swan [2010] and Limitless [2011] would remain suitable to at least some teens under 17 while Shame would not.  So I am a definite proponent of honesty in ratings and, in particular, a defender of the serious application of the "R-rating."  I found it ridiculous that the Oscar Winning The King's Speech [2010] was rated R (for language) while Limitless [2011] with it's graphic violence and drug addiction thematics was rated PG-13.  And as I write here, I'm not even sure why Shame was rated NC-17 while the above mentioned films were rated either R or below.  But such it is ... and to close the point here, I would simply insist that parents note that the thematics of Shame (as in the case of the other above mentioned films) would be beyond the comprehension of the vast majority of teens.

To the film ... Shame is about a 30 something single man, Brandon Sullivan (played by Michael Fassbender), living and working in Manhattan who's addicted to sex.  He has one night stands, he hires prostitutes, both his computer at work and his laptop at home are filled with porn, he can't even sit in a subway car on his way to work without fantasizing about (and coming onto) a random, reasonably attractive woman sitting across from him in the car.  And all this brings him repeated doses of nearly unbearable shame:  His computer gets pulled by the IT technicians at work on suspicion that _it_ could be the source of viruses plaguing the firm's computer system.  His adult sister Sissy (played by Carey Mulligan) is a mess, but he doesn't really see it and in any case is unable to do anything about it.  He pursues a coworker, Marianne (played by Nicole Beharie), but perhaps because he starts to actually care for her, he finds himself unable (or unwilling) to perform (or otherwise actually express that he cares).  As with any addiction, any joy in the act is lost in the craving for the next "hit" and the happenings of the rest of the world get lost in the struggle to find it and then in the haze when he at last gets it. 

I found the presentation of the addiction quite convincing.  There are only a few lines in the dialogue that I found forced.  One dialogue exchange in particular I would note here: During his first date with Marianne, Brandon says very matter of factly (and quite to her horror) that he simply doesn't believe that marriage or lasting fidelity were "realistic."  The exchange came across to me as the screenwriters ticking off "probable symptoms or attitudes of a sex addict."  I'm not sure that a character like Brandon would be so brazen about holding such a view or even that he would necessarily hold it at all.  I would imagine that a sex addict would be far more conflicted than that, as indeed, Brandon was (see above).

But aside from a few forced lines of dialogue, I found the film quite well done and certainly one presenting the case for the existence of this kind of addiction: Who would be willing to risk the various doses of overwhelming shame associated with such sexual behavior if not an addict?


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