There isn't much of a twist to The Woman in Black's haunted house tale: man goes to a creepy old house runs into an angry ghost and mayhem ensues. That standard horror plot would be fine if the execution were thrilling every scare sending a chill down the spine. But star Daniel Radcliffe's first post-Potter outing has less life than its spectral inhabitants with impressive early 20th century production design sharp cinematography and solid performances barely keeping it breathing. Much like the film's titular spirit The Woman in Black hangs in limbo haunting the quality divide.
Arthur Kipps (Radcliffe) is barely holding on in life having lost his wife during the birth of their child and struggling to stay employed as a lawyer. To stay afloat Kipps reluctantly takes on the job of settling the legal affairs of a recently deceased widow. Living in her home the you-should-have-known-this-house-was-haunted-by-the-name Eel Marsh House Kipps quickly realizes there's more to the woman's life than he realized unraveling her mysterious connections to a string of child deaths and a ghostly presence in the home. Even with pressure from the townspeople Kipps continues his investigation hoping to right any wrongs he's accidentally caused by putting the violent Woman in Black to rest.
Radcliffe bounces back and forth between the dusty mansion made even more forbidding by the high tides that routinely cut it off from civilization and a town full of wide-eyed psychos who live in fear of the kid-killing Woman in Black. Even after losing his own son Kipps' neighbor Daily (Ciarán Hinds) is convinced the "ghost" is a fairy tales while Daily's wife (Oscar nominee Janet McTeer) finds herself occasionally possessed by her dead son scribbling forbidding message to Arthur about future murders. Arthur wrestles with the two extreme points of view but Woman in Black doesn't spend much time exploring the hardships of a skeptic quickly slipping back into standard horror mode at every opportunity. When they have time to play around with the twisted scenario all three actors are top-notch but rarely are they asked to do anything but gasp and react in a terrified manner.
Director James Watkins (Eden Lake) conjures up some legitimately spooky imagery leaving the space behind Arthur empty or cutting to an object in the room that could potentially come back to haunt our befuddled hero all in an effort to tickle our imaginations. But like so many "jump scare" horror flicks Woman in Black relies heavily on the "Bah-BAAAAAAH" music cues obtrusively orchestrated by composer Marco Beltrami. A rocking chair a swinging door and the reveal of a decomposing zombie ghost lady could work on their own especially in such a well-designed environment as Eel Marsh House but Woman in Black insists on zapping a charge of musical electricity straight into our brain forcing us to shiver in the least graceful way possible.
The script by Jane Goldman (Kick-Ass X-Men: First Class) tries to throw back to the slow burn character-first horror films of classic cinema while injecting the sensibilities modern filmmaking. The combination turns Woman in Black into visually appealing dramatically bland ghost story. Radcliffe still has a long career ahead of him as Woman in Black does suggest but this isn't the movie that get people thinking there's life after Potter.
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.