In the dialogue-free opening sequence of Shame director Steve McQueen introduces us to Brandon (Michael Fassbender) a handsome New Yorker who goes through a morning routine tackles the responsibilities of his high profile day job socializes with co-workers and all the while struggles with an insatiable desire for sexual pleasure. As the strings of composer Harry Escott's score swell we see Brandon in two scenarios: holding back from advancing on a beautiful young subway-rider and succumbing to carnal instinct with the help of a prostitute. It's a powerful setup for Fassbender's breathtaking performance which ranks among the best of the year.
Shame forcefully declares that sex addiction is just as tangible devastating and perplexing as any drug or alcohol problem but does so without didactic lessons or over-the-top indulgences. Fassbender's Brandon is on the other end of the spectrum from Nicolas Cage's crazed alcoholic character in Leaving Las Vegas with McQueen breaking long stretches of repression with harrowing moments of emotionless lust. The film works as a character portrait following Brandon as he finds himself falling deeper and deeper into the rabbit hole and witnessing the effects of his descent on the people around him. Picking up women isn't a problem for the dashing gent—he does so with ease on many an occasion—but when he tries dating the one woman he has feelings for he's void of sexual stamina. Unfortunately even in the sprawling city of New York there's no outlet for Brandon to confide in—his work buddies are all looking for an easy lay and his sister Sissy (Carey Mulligan) who shows up at his door one inopportune day has a heap of her own problems.
McQueen shoots Shame with precision that never feels staged each scene camera angle and directorial choice amplifying Brandon's dizzying situation Whether Brandon's entranced by Sissy's passionate rendition of "New York New York " working off his own sexual frustration with a quick jog or seducing a barfly's girlfriend at a hole-in-the-wall joint Fassbender and McQueen work in perfect tandem to bring the audience into the struggle. You will feel the raw power of Brandon unleashing his sex drive and you will feel the sadness behind Fassbender's face as he drifts alone through the city streets. Both moods are powerful moving and true.
Shame doesn't have an easy-to-swallow narrative a real beginning or an end. When you expect things to align into a traditional structure McQueen and screenwriter Abi Morgan subvert expectations—as life often does. What keeps us engrossed is Fassbender who can pull off the balancing act of suave and broken without tipping us off that he's acting at all. Shame received an NC-17 rating because of its racy imagery but the real maturity on display in the film is the bare bones depiction of human behavior.
P.J. Hogan's Peter Pan follows J.M. Barrie's story almost to the letter. A girl on the brink of womanhood Wendy Darling (newcomer Rachel Hurd-Wood) loves telling her brothers John (Harry Newell) and Michael (Freddie Popplewell) stories of dastardly pirates as they sit in their nursery under the watchful eye of their St. Bernard Nana. Her 19th-century Londoner parents however believe the time has come for the young girl to grow up especially her father. Then a cheeky wild-haired boy named Peter Pan (Jeremy Sumpter) flies through the nursery window one night with his trusted yet jealousy-prone fairy Tinkerbell (Ludivine Sagnier) telling Wendy he can take her to a place full of adventure where no one ever has to grow up. She readily accepts the offer and with a few happy thoughts some fairy dust and her two brothers in tow she flies off to Neverland. (Not the ranch…the real place.) Once there Wendy encounters mermaids Indians and the Lost Boys (who refer to her as "mother") and gets the whole pirate experience in Peter's ongoing feud with arch-nemesis Captain Hook (Jason Isaacs). But Wendy soon becomes conflicted because on the one hand she likes hangin' with hottie Peter but on the other she misses her mother. She decides it's probably best to go back and grow up but in her hurry to leave she ends up in Hook's clutches. A rescue ensues. Swords clash ticking crocodiles are fed and fairies are saved as our clever fly boy zooms Wendy and company back to London on a giant pirate ship. But does he stay and grow up himself? Hell no he's a Toys 'R Us kid forever!
All the kid actors in Peter Pan are highly watchable and appealing with angelic faces peaches-and-cream complexions and pouty cherry lips. This is the first time Peter is being played by a real-life boy a fact much hyped by the filmmakers and 12-year-old Sumpter (Frailty) does his best to live up to the expectations. (He's soon to be swoon-worthy material for sure.) He's got a mischievous gleam in his eye and a great sly smile but he really lights up when he's looking into Wendy's adorable face. Hurd-Wood the first-time actress who plays the spirited girl earned her role after a long and involved casting process it's well deserved; she fits the typical English-girl profile perfectly and gets the hang of her craft quickly infusing the character with a natural cheerful energy. It's also refreshing to see the young actors play up Wendy and Peter's feelings of first love which prior films always hinted at but never fully realized. Isaacs in a dual role as the firm-but-loving Mr. Darling and the frightening comical lonely charming needy reprehensible Captain Hook draws on his experience at playing exquisitely awful baddies (The Patriot Harry Potter and the Chamber of Secrets) and really sinks his claws into Hook. In a stand out supporting role French actress Sagnier (Swimming Pool) is really fantastic as the vivacious non-speaking Tinkerbell portraying the fairy's conflicted emotions with a silent-film over-the-top technique.
Director/writer P.J. Hogan (My Best Friend's Wedding) and his team try to distinguish their film from the other Peter Pans of the world by using all the technical and special effects wizardry at their disposal. Hogan says his Peter Pan is the way its author Barrie intended to be when he wrote it as a play over a 100 years ago--full of fantasy and wonder. In a way he's right and production designer Roger Ford and visual effects supervisor Scott Farrar take his vision and run with it giving audiences a very lush Neverland with waterfalls fluffy pink clouds crystal-blue waters and a gorgeous fairy world. But despite the bells and whistles there really isn't anything original and different in this Pan. Even its look at the dark side of Neverland has been done in Steven Spielberg's 1991 semi-sequel Hook which showed the dangers of Neverland. In this version lives really are at stake and the pirates are not cute and fun. Even the mermaids are mysterious and malevolent with scary faces and murderous intentions a far cry from the beautiful if somewhat mean-spirited creatures of the 1953 classic Disney animated adaptation another inescapable influence on the audience. When the crocodile draws near for example tick-tocking away the croc's signature tune from the Disney film comes immediately to mind. People may love those Disney films for those cutesy catchy songs but Peter Pan really is a good story. Heck it's a great story. But it's just been done.
December 18, 2003 12:55pm EST
Katherine Watson (Julia Roberts) a novice professor from UCLA lands a job in the art history department at Wellesley College in the fall of 1953 and she's thrilled at the prospect of educating some of the brightest young women in the country. But her lofty image of Wellesley quickly fizzles when she discovers that despite its academic reputation the school fosters an environment where success is measured by the size of a girl's engagement ring. Besides learning about fresco techniques and physics the women take classes in the art of serving tea to their husband's bosses something that doesn't sit well with the forward-thinking Katherine who openly encourages her students to strive for goals other than marriage. Katherine inspires a group of students specifically Joan (Julia Stiles) and Giselle (Maggie Gyllenhaal) but newlywed Betty (Kirsten Dunst) feels Katherine looks down on her for choosing a husband over a career. Betty goes on the offensive and uses her column in the school paper to drive a wedge between the professor and the stuffy faculty. But while Betty puts on a happily married face her hostility towards Katherine is actually misplaced anger stemming from her miserable marriage to a cheating charlatan.
Katherine is Mona Lisa Smile's most complex and intriguing character and Roberts is a fitting choice for the part. Like an old soul the actress has a depth that's perfect for a character like Katherine who's enlightened and ahead of her time. But Katherine never emotionally connects with any of her students which isn't surprising since they're so bitchy and self-absorbed. Perhaps more time should have been spent developing the young women's characters and building their relationships with Katherine sooner but as it is the underdeveloped friendships between the women will leave viewers feeling indifferent rather than inspired. The worst of the bunch is Dunst's character Betty who is intent on making everyone around her feel unworthy. She has her reasons of course but they're revealed so late in the story that it's hard to suddenly empathize with her after having spent three-quarters of the film hating her guts. Stiles' character Joan is perhaps the most congenial but like Betty she never develops a strong bond with her teacher. The most "liberal" of the girls is Giselle played by Gyllenhaal but the character suffers the same burden as the rest: She's unlikable. Giselle's penchant for sleeping with professors and married men is so odious that not even her 11th hour broken-home story can salvage her character.
While Mona Lisa's smile in Leonardo da Vinci's famous painting has often been described as subtle director Mike Newell's star-studded drama is anything but that; Mona Lisa Smile is so heavy-handed that unlike the painting for which it was named there is nothing left for moviegoers to ponder or debate. The film plays like a montage of '50s ideological iconography: A school nurse gets fired for dispensing birth control; a teacher refers to Lucille Ball as a "communist"; Betty's prayers are answered when she gets what every woman dreams of--a washer and dryer. But the film's critical insight into '50s culture isn't as shocking as it thinks it is and the way it highlights feminist issues is as uninspired as trivial as a fine-art reproduction. Newell also spends too much time basking in the aura of the '50s era focusing on countless parties dances and weddings sequences that while visually ambitious are superfluous. The film may be historically accurate but its characters story and message will leave moviegoers feeling empty. A climactic scene for example in which Katherine's students ride their bikes alongside her car as a show of support comes across as a tool to evoke sentiment that just doesn't exist.
The animated Sinbad: Legend of the Seven Seas has all the great adventure of the story wrapped up in a sappy little package for the kiddies. Taken from the ancient tales of the Arabian Nights Sinbad is a rogue who cares only about what is in his and his crew's best interest--and little else. As the film begins he unsuccessfully tries to steal the Book of Peace--which keeps order in the world--from his childhood best friend Proteus the Prince of Syracuse who is sailing to the city to return the sacred book. Although the two are estranged it's clear they still have a kinship. When the Book of Peace is actually stolen by Eris the goddess of chaos she frames Sinbad for the theft. Proteus stands up for his friend and makes the council give Sinbad one chance to find and return the precious book or Proteus will die on his behalf. Disbelieving the threat the pirate decides to blow the whole thing off but Proteus' beautiful betrothed Marina who has stowed away on Sinbad's ship has other plans. Marina has Sinbad's crew on her side and it could turn mutinous if the guy doesn't fulfill the mission. OK so he'll go get the book. Eris doesn't make it easy for our reluctant hero--dispatching both monstrous creatures and the elements to do battle along the way. But ultimately the brave Sinbad learns a few life lessons falls in love and wins out by following his heart. Aww!
See what a little success in the animated world can get you? These days an animated film can demand the attention of any A-list actor to provide the voices not just your occasional Robin Williams. We have Finding Nemo with the voices of Albert Brooks and Ellen DeGeneres and now Sinbad which attracted huge names such as Brad Pitt (Sinbad) Catherine Zeta-Jones (Marina) Michelle Pfeiffer (Eris) and Joseph Fiennes (Proteus). It could also be the fact DreamWorks' animation king Jeffrey Katzenberg has the clout to rope them all in. Pitt as Sinbad is roguishly clever infusing the pirate with the requisite amount mischievousness and rebellion while Zeta-Jones provides the adventurous Marina with the right amount of bravado and vulnerability. Fiennes as the stiff but honorable Proteus is fine but you can tell right away who has the most fun with her character; Pfeiffer's Eris is a pure delight in sound as well as sight. She is able to take her Catwoman persona from Batman Returns and elevate it to a well celestial level. In the supporting roles Dennis Haysbert does a nice job as Sinbad's right-hand man Kale as does Adriano Giannini the son of legendary actor Giancarlo Giannini as the ship's lookout Rat. Kudos all around for a job well done.
As a self-proclaimed fan of those cheesy 1970s Sinbad movies including The Golden Voyage of Sinbad and Sinbad and the Eye of the Tiger--where the stop-motion special effects of wizard Ray Harryhausen made it all worthwhile--the idea of an animated version of Sinbad seems perfectly fitted for the genre. Now the mythical creatures could be fully realized in vivid Technicolor where the DreamWorks' animators spare no expense in providing their own visions of things such as sirens sea monsters and giant birds of prey. The artwork for Eris is a particular stroke of genius with the flowing black hair and beautifully evil features; the film definitely comes alive when she is onscreen. As well the action sequences are as exciting as any car chase or gun battle you'll see in a live-action film. The drawback for the adults is the film's slightly schmaltzy story about friendship and of course true love. It's not entirely clear why computer-animated films such as Shrek and Finding Nemo are now becoming the only animated films that appeal to everyone adults and kids alike. It used to be traditional hand-drawn classics such as The Little Mermaid and The Lion King did the trick but now it seems animated films need only provide spectacular visuals--without a great story and snappy dialogue to back them up.