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My 12 for ’12: Shame & Silence

I’m counting down my top twelve films of the year between now and January, starting at #12 and heading to #1. I expect the list to be a little bit predictable, a little bit surprising, a little bit of everything. All films released in the UK and Ireland in 2012 qualify. Sound off below, and let me know if I’m on the money, or if I’m completely off the radar. And let me know your own picks or recommendations.

This is #2

Addiction stories are very tough to do right. It’s far too easy to get caught up in the melodrama of the cycle – the excess, the withdrawal, the relapse, the epiphany. It’s tempting to wallow in each of those stages, to structure them as acts in a drama. It’s hard to resist the urge to heighten absolutely everything, to dwell on the heat of obsession and desperation that surrounds any addiction.

Director Steve McQueen and actor Michael Fassbender do a sensational job with Shame, avoiding these potential problems, offering a portrayal of addiction and personal collapse that is strangely understated and introverted rather than overwhelming or excessive. Indeed, the fact that the movie is about sex addiction might lead some potential viewers to worry. If ever an addiction lent itself to trashy and tasteless excess, one might imagine that sex would be that personal demon.

Instead, McQueen shows admirable restraint in tackling the topic. While he never blushes in presenting the depths of his lead’s degradation, he never sensationalises it. Instead, much like Brandon’s addiction, Shame is cold and clinical – and all the more powerful for it.

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12 Movie Moments of 2012: Running (Shame)

As well as counting down the top twelve films, I’m also going to count down my top twelve movie related “moments” of 2012. The term “moment” is elastic, so expect some crazy nonsense here. And, as usual, I accept that my taste is completely absurd, so I fully expect you to disagree. With that in mind, this is #8

It is quite common to see New York presented in an unpleasant light. After all, Martin Scorsese’s films capture the metropolis at its very best and its very worst, and there are countless gangster films devoted to exploring the dark underbelly of a city that is easily one of the most recognisable in the world. I have never been to New York, and yet I feel like – through years of film-watching – I have come to know the city almost as if I have lived there.

As such, I was surprised when Shame managed to offer me a somewhat novel take on New York itself. The city is as much a character in the film as any of Steve McQueen’s supporting cast. (Indeed, Carey Mulligan even gets to perform an extended version of “New York, New York” in tribute to her co-star.) McQueen manages to craft a distinctly unpleasant and uncomfortable exploration of the city without resorting to any of the trite clichés that one associates with the horrors of urban living.

Indeed, one long single-take shot of Brandon running within the confines of the city offered a more powerful sense of urban anomie and isolation than I have ever seen before, presenting a cold blue city completely indifferent and unaware of the millions of people living within the city limits.

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Non-Review Review: Rope

Rope occupies an interesting place in Alfred Hitchcock’s filmography. The director himself was less than fond of it, allegedly quite happy that it remained out of circulation for some time after its initial release. Jimmy Stewart has apparently been critical of his own performance in the film, although I think it’s a wonderful example of a beloved actor playing against type. In the years since, however, it has been somewhat re-evaluated. While most film fans would be hesitant to describe it as an unqualified success, it’s certainly a technically ambitious little film, and the tight script and set-up allow Hitchcock to indulge his knack for creating suspense.

I hope nobody choked with all those ten-minute takes…

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