McQueen’s 1997 video piece, Deadpan, demonstrates McQueen’s knowledge of cinema history and showed his willingness to incorporate techniques from wide range of eras into his own work.
Deadpan recreates the famous moment from Buster Keaton’s Steamboat Bill Jr. where a house falls on either side of Keaton. There was bravery to Steve McQueen’s construction of Hunger that announced a new voice in the cinema, but recalled cinema from a bygone era. Hunger contained shots that varied so incredibly in length and form that it took me off guard. The most memorable shot in that film lasted over seventeen minutes and was followed by a shot that was only thirteen seconds. Shame feels more tame in this sense; however, there are shots that similarly push beyond expectations. McQueen continues use of the camera eye in way that is unfamiliar to mainstream cinema. In one of the most moving moments of the film McQueen and his cinematographer Sean Bobbitt captured a close-up of Carey Mulligan, who plays Brandon’s younger sister Sissy, singing the theme from New York, New York. The camera stays on Sissy’s face while she is singing the song and doesn’t look away. This moment allows Sissy to convey her feelings more clearly and directly than any conversation in the film. Sissy and Brandon seem lost in dialogue and limited by language.  The film tells a story where both characters are overwhelmed by their personal struggles and unable to convey this to one another.

Hunger was in large part memorable for its extended silences, which are certainly a rarity in modern cinema, but Shame seems much more interested in seeing dialogue spoken but gathered between sentences. While Hunger dealt with slow designation, Shame appears more focused on moments of explosion. Perhaps the biggest difference between the two films is that Hunger dealt with a protagonist who demonstrated an extreme form of control whereas Shame positions two characters who have been overtaken by their natural impulses. Brandon and Sissy are addicted to their lifestyles and in need of one another.

Shame continues McQueen’s extreme level of ambition, and is rivaled in 2011 only by Terrence Malick’s The Tree of Life.  Upon leaving the theater I slightly uneasy and thought that Shame could have been a better movie if only it had ended a few scenes earlier; however, if that was the case the movie would not be the same and I admire McQueen and his fellowscreenwriter, Abi Morgan, for pushing their story to his climatic.

I have heard some complaints that revolve around the depiction of sexuality during Brandon’s lowest moments; however, human sexuality and society’s relation to heteronormativity are so complex that feel as though I can’t criticize some of the film’s more fluid moments. I don’t feel as though McQueen demonizes any of Brandon’s individual actions, but does show the problem with an addiction to a behavior as well as an established pattern.

I would be remiss if I did not mention Michael Fassbender’s incredible performance as Brandon Sullivan. Fassender also starred in Hunger as Bobby Sands. While Fassbender’s star has been on the rise, McQueen’s films offer Fassbender a chance to stretch his performance technique further than any Hollywood film, such as X-Men: First Class, ever could. Fassbender’s gaze in Shame sits in opposition with the audience’s. In many ways Brandon seems as though his desires contradict with the viewer’s hopes for the character. These
contradictions briefly dissolve when Brandon meets someone who he may be able to have a more normal romantic relationship with. Sissy seems to be the only woman who really knows Brandon; however, their relationship as siblings helps draw the line between people who know Brandon on a personal level and those who know him only from sexual interactions.

Shame is a great film and one of the highlights of 2011. I think that it often takes someone who is an outsider to breath new life into a medium and McQueen art world background him an interesting candidate to utilize the cinematic form. I adore McQueen’s first two features and I look forward to seeing how his career develops.

Aaron Johnson, Kristin Scott Thomas and Anne-Marie Duff in Nowhere Boy

The part of Mimi, Lennon’s aunt is played by the immensely talented Kristin Scott Thomas. Known for her roles in the English Patient, The Horse Whisperer, Richard III, and Up At the Villa, to name just a few, Kristin is best known for her portrayal of tightly wound characters, and Nowhere Boy is no exception. Juxtaposed against the character of Lennon’s light-hearted and rather flakey mother, Julia, played by Anne-Marie Duff, Kristen’s role in Nowhere Boy seems even more harsh than usual. During 1944 to 1960, we see the effect the death of his father had on Lennon, as these two women dominated his life.

This 2009 film is director, Sam Taylor-Wood’s first feature film, and it was nominated for 4 BAFTA Film Awards. Both Anne-Marie Duff and Kristin Scott Thomas were nominated for numerous awards for their roles in Nowhere Boy, and Anne-Marie won the British Independent Film Award and the London Critics Circle Film Award for Best Supporting Actress.

Nowhere Boy is a wonderful example of the British slice of life film. I consider this one of those delightful gems that are overlooked by most theaters. If you are looking for an interesting little film to stream for the evening, this would be on my list of recommendations. The acting is solid, the music is fun, and the story is interesting for anyone who has followed rock and roll history.

Atom the robot, Real Steel

Dakota Goyo is cast in the role of Max Kenton, Charlie’s son, and I don’t think they could have found a better choice for the role. Dakota is bright, cute, and charismatic, a perfect mix for Max.

Evangeline Lilly stars as Bailey Tallet in Real Steel.

Evangeline Lilly lights up the screen each time she appears and bring heart to the movie as Bailey Tallet, the techy friend, would-be-girlfriend, who understands both Charlie and Max. Bailey becomes the embodiment of hope in the film and her emotions are so real that you want to believe people can change right along with her.

Real Steel is the real deal, and it delivers a fun film for the family. At the same time, it leaves plenty of unanswered issues that are perfect topics of conversations for family dinners over the next couple of weeks.

The Hedgehog

The Hedgehog

The Hedgehog (Le hérisson) is a quiet film, where things don’t always work out as we would like. Life has its own agenda. It reminds us of how important it is to pay attention to those around us, and to value the quiet moments.