All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
In New York City, Brandon's carefully cultivated private life -- which allows him to indulge his sexual addiction -- is disrupted when his sister Cissy arrives unannounced for an indefinite stay.
This isn't a film about sex addiction. It's a film about a man torn in half by himself. The addiction is a mere vehicle for an exploration of control, humanity and self destruction.
Fassbender is amazing and easily gives one of the best performances I have seen in a couple of years. He is reprehensible, charming and unbelievably sad. His character, a man desperately running away from himself yet totally dependent on himself, is intriguing. What McQueen is able to do like no other director is to allow us to enter the mind of his characters. He is an observer and that is how he shoots his films,…
Shame, Shame, what to say about Shame?
The almost extreme extent to which Steve McQueen has really bent the filmic medium to his will, creating a pretty well-defined style in only two films. Although still not a traditional narrative, and maybe not even a full character portrait (or is that the point?), Shame is still something slightly more than an experimental art piece, it is definitely cinematic. McQueen's filmmaking is more of the same as we saw from Hunger, and all at once more refined, more controlled, more restrained, more expressive. He is refusing to work within established boundaries, and instead is creating products that are very much their own thing.
The characters McQueen creates in Brandon, Cissy, and…
Sex addiction is often seen as a rather silly and trivial addiction, one that celebrities wheel out when their infidelities become public knowledge. Yet in Steve McQueen's second feature it is portrayed as potentially serious, debilitating and life destroying as drug or alcohol addiction. The film is as utterly empty as Brandon's own existence and whilst that may sound like a flaw it really isn't. McQueen puts you in his world and gets under the skin of Brandon's hollow life and ambiguous family backstory. It is odd coming out of a film where you feel so little, normally they aim to heighten emotions not numb them, but it is crucial in understanding the character and the world he inhabits for…
How does something that feels so good hurt so bad?
Brandon is trapped. He's stuck in a cage; he's imprisoned by desire and denied the human right of happiness. The horror of it all is that - to the outside world - he's 'normal.' The invisible walls exist in his mind, preventing any connection to those who might free him. Sometimes he can convince himself the walls aren't there, or maybe it's just that he's never known life outside his cell. But every now and then he sees the happiness people unshackled experience, and he wants it. He gets tired of this one-lane road and wants to know what it's like to slow down, or even stop. But he can't,…
What a powerful film. McQueen addresses a serious addiction with a very serious and honest precision, discreetly encapsulating the devastating repercussions in a personal life: work relationships, acquaintances, and most importantly, family bonds.
McQueen also scatters clues and hints into what seems to be an intentionally incomplete, yet challenging and thought-provoking character study. The sexual addiction seems to be indicated by very clear and explicit hints, and some of them are left to the imagination. However, when our imagination fills the untold parts of the main character's past life, none of our speculations are pretty. The key part is when Sissy says to Brandon: "We are not bad people. We just come from a bad place." Such bad place seems…
I wanted to watch Shame again because I couldn't decide if I like it more than 12 Years a Slave.
I think both are very different films, each one with their unique power. Both have provided me amazing cinematic experiencies, both touched me and conected with me in such a strong way and I can equally say the same about Hunger. Steve McQueen keeps getting better and better, his films have the hability to stay in your mind and haunt you for days.
Michael Fassbender's acting skills are immense not just in here but in everything he does that's why he quickly became one of my favorite actors. I hope he and Steve McQueen continue to work together in the future.
For someone who has studied film and who is currently an English tutor one would think I would me comfortable writing film reviews. I find it terribly difficult.
So, I won't really review it now. This was my 2nd McQueen film, 12 Years a Slave being the first. I liked his direction here. I felt the framing, the color palette, and the music were all designed to evoke sadness. Also, pointing out the obvious here, Michael Fassbender slowly gets unattractive as the film goes on. Both in looks and in character.
I cannot end a review of a Fassbender movie with mentioning, well, you know, his rather large cock. This was not my first introduction to it, and nor, I am sure, will it be the last time I see it. He seems to have taken over the helm for Ewan McGregor in terms of size and of showing it. I ain't complaining.
McQueen's brilliant film is one to match its style with nuanced substance. The powerful character study puts us inside a troubled man's life and watch his self-destructive nature slowly unravel. It is a strong film that pulls no punches, and one really hard to watch, but it's just as addictive as the lifestyle it depicts.
Michael Fassbender has never been better, in a performance that'd make or break the film, he triumphs and ultimately becomes his character in a range of emotions that show us his internal struggle and desesperation. However, it is not a one man's show, as Carey Mulligan gives a restrained but captivating performance as his equally troubled sister.
The MVP, though, has got to be Steve…
Film Rating: 7/10 or 4 out of 5
• "Michael Fassbender" is Perfect/Great in this
• Big Fan of "Steve McQueen's" Direction
• Jogging Scene was my favorite
There's a close-up in "Shame" of Michael Fassbender's face showing pain, grief and anger. His character, Brandon, is having an orgasm. For the movie's writer-director, Steve McQueen, that could be the film's master shot. There is no concern about the movement of Brandon's lower body. No concern about his partner. The close-up limits our view to his suffering. He is enduring a sexual function that has long since stopped giving him any pleasure and is self-abuse in the most profound way.
Brandon is a good-looking, fit man in his early 30s, who lives alone in a sterile condo in Manhattan. He works in a cubicle with a computer. Never mind what his company does. It makes no difference to him.…
I dunno, I almost wish they had just focused on Brandon throughout instead of introducing Sissy. Part of this is my problem with Carey Mulligan, but I also think her place in the film - loud, histrionic, and attention-grabbing - seems at odds with the aesthetic and narrative concerns. That's undoubtedly the point, but it just rang false to me; perhaps a better actress, or a better-written character, would've solved the issue.
But Fassbender is a beast, and McQueen continues with the same kind of technical prowess he showed off in Hunger (the date scene reminded me of the long conversation between Bobby Sands and the priest). It occasionally seems like there's not always a clear motivation behind some of his decisions, but it's so breathtaking that I hardly minded. I'm excited to see what they'll do next.
'We're not bad people. We just come from a bad place.'
Most films that deal with addiction of any sort tend towards the bleak and bitter, and allow for a degree of bold and unrestrained imagery. Steve McQueen takes these concepts and creates something thoroughly downhearted, unrelenting savage but ultimately inaccessible, and so the emotional turmoil loses some of its sting. Where there is room for some genuine attachment, each character proves to be as unappealing as the next, leaving the audience feeling unfulfilled more than anything else.
Michael Fassbender manages to shed most of his natural charisma in his stark and intensely creepy performance as sex addict Brandon. His relationships with almost everyone are clipped and disingenuous, and he…
It is one of those movies that will haunt you for a long time,
and in a positive sense where it will make you think about addictions in general.
Acting was absolutely brilliant and Steve McQueen has done an excellent job bringing so many different aspect of addicts daily problems on screen.
Simply brilliant and best
The musical score is outstanding
One of the best movies of past few years
Enjoyed watching Shame
Interesting if nothing else, Shame is an intriguing little caper from Steve Mcqueen, (who is disappointingly not Cool Hand Luke, but a decent director instead). Michael Fassbender plays the slimy and aloof Brandon, he's a womanising, thirty something go-getter until his slightly annoying sister turns up and everything goes pear shaped. It's a slow burning and detailed portrayal of love, loneliness and relationships and generally leaves you wanting more. I could have easily watched it in one sitting and that's a rarity. Fassbender is mildly annoying and not in a good way, there's an element of the show off about his deadpan acting. Carey Mulligan meanwhile is distinctly likeable and believable as Sissy, the quirky, jazz singing sibling and she should go on to great things. All in all it's a pleasant surprise and I'll definitely be looking up some more of Steve Mcqueen's offerings.
Everyone is miserable in a different way.
I heard a lecture a few weeks ago by a prominent art historian regarding McQueen's work (largely his video art), and the general consensus seemed to be a strong dislike of his "Hollywood" work. This film was discussed most. I still don't really get the AH hating.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
- In the Mood for Love
- Children of the Corn
- 28 Weeks Later
- Welcome to the Dollhouse
I FUCKING LOVE COLOURING