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OF MIND
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bijou-cinemas.com
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Jan 26
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movies
5:10
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Jodie Foster John C. Reilly Kate Winslet
Directed by Roman Polanski
7:45
7:45
7:45
SHAME
4:50
7:10
4:50
7:10
7:45
Michael Fassbender
Carey Mulligan
4:50
7:10
4:50
7:10
NC-17
MELANCHOLIA
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TIX $2 Tix 21 & FOOD
$5 Sun & Tues ovER MENU
762-1700 | 180 E. 5TH AVE
Asian Food
Market
davidminortheater.com
Ain’t That a Shame
THURS JAN 19 – WED JAN 25
THUR
Largest Selection
of Asian Groceries
Fassbenderover and don’t stop till you get enough
SHAME: Directed by Steve McQueen. Screenplay
by McQueen and Abi Morgan. Cinematography,
Sean Bobbit. Editor, Joe Walker. Music, Harry
Escott. Starring Michael Fassbender, Carey Mulligan,
James Badge Dale, Nicole Beharie, Alex Manette.
Fox Searchlight Pictures, 2011. NC-17. 101 minutes.
41111
I
n 1995, a young, relatively unknown
director by the name of Todd Haynes
achieved the seemingly impossible: He
turned a story about a mousy, middle-class
woman suffering from multiple chemical
sensitivity into an operatic work of minor
tragedy. On its surface, Safe appears to be
one of those fl at, one-note “issue” movies
that audiences feel morally obligated
to see — a joyless civic duty. And yet,
thanks in large part to a fantastic star turn
by Julianne Moore, Haynes transformed
Safe into a subtle, complex and deeply
felt existential mystery full of ethical
ambiguity and psychological peril. Never
has a can of hairspray held such misty,
abysmal menace.
The most astonishing thing about
director Steve McQueen’s latest “issue”
fi lm is how pitilessly aggressive and poker-
faced it is in its pursuit of rectitude. Shame
is shameless: Like a drone honed in on a
moving target, this movie — a fi ctional
exposé on the wages of sex addiction —
tolerates no moral fl ip-fl oppery, no ethical
fug. It just grinds and grunts and grimaces
its way to an ineluctable conclusion.
Shame is everything Safe is not: obvious,
predictable, unsubtle, voyeuristic, ham-
fi sted and insultingly heavy-handed.
Where Haynes tiptoed, McQueen stumbles
every time — and considers it a triumph.
This is not art. It is a warning label, Reefer
Madness in the Age of Viagra.
Brandon Sullivan (Michael Fassbender)
is a young, successful, taciturn but
charming sub-executive living and working
in New York. With his chiseled, aquiline
good looks, steely gaze and thin-lipped
grin, Fassbender is a prefabricated denizen
of that cold, neon-blue Manhattan of the
mind — that same hellish, depopulated
cinematic Gotham that gave us Christian
Bale in American Psycho. Brandon is anally
retentive but genitally expulsive: His days
are organized strictly around opportunities
to get his rocks off, whether that be a romp
with a one-night stand, a roll with a hooker
or a quick yank at work in a locked stall. His
hard drive is choked with porn.
Brandon’s married boss, David Fisher
(James Badge Dale), is an overgrown
frat boy given to ecstatic bouts of sexual
bonhomie and homoerotic ass slapping.
David admires Brandon’s way with
women, and enlists him as wingman in
his overeager pursuit of a little barfl y
pussy on the side. Enter Brandon’s sister,
Sissy (Carey Sullivan), a damaged,
couch-surfi ng waif who happens to be
— of course — a musician with suicidal
tendencies. Sissy, suffering a particularly
bad streak, convinces Brandon to let her
crash for a while at his apartment.
As a director, McQueen — whose
feature-length debut, Hunger (2008), was
inspired by Bobby Sands’ IRA hunger
strike in 1981 — reveals a strong eye for
detail and an admirable willingness to
let the camera linger, as when Sissy, in
close-up, sings “New York, New York”
to its fi nal yearning note. (McQueen also
seems to want a lot of credit for granting us
prolonged peeks at Fassbender’s pendulous
ding-dong.) The problem is that McQueen
can’t seem to turn his technical expertise
toward anything resembling authentic
emotion: His characters are ready-made
and stamped out rather than developed, and
every dramatic crisis is semaphored like an
iceberg approaching the Titanic. Abetting
this forgery of art is Harry Escott’s score, a
melodramatic mélange of soaring menace
that sounds like John Williams on ecstasy.
Like Crash before it, Shame is a kind
of fi xed liberal litmus test that bludgeons
the viewer with answers at every turn. The
point of the movie is not to think, but to
react with disgust at the humorless litany
of explicit symptoms shoved like dog shit
in your face. At the heart of the problem is
the issue of opportunism executed in bad
faith: McQueen has made a fi lm about sex
addiction, when he should have made a
fi lm with a sex addict in it. He was trapped
from the beginning, leaving himself with no
choice but to demonize his subject within a
context of no context. Compare Shame with
movies of a similar thematic vein — Last
Tango in Paris, Looking for Mr. Goodbar,
Drugstore Cowboy — and it becomes clear
how literally wrongheaded McQueen’s
approach to fi lmmaking is. You can’t also
eat the cake you don’t even have.
ew
Shame opens Friday, Jan. 20, at the Bijou; info at bijou-
cinemas.com
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PRICING (R) - ID REQ'D ★ Fri. - Sat.1215 245 515 745 1015
THE ARTIST (PG-13)
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Fri. - Sat.(1240) 410 710 1010
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UNDERWORLD AWAKENING IN REAL D 3D - EVENT
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HAYWIRE (R) - ID REQ'D
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BEAUTY AND THE BEAST IN REAL D 3D - EVENT
PRICING (G) ★
Fri. - Sat.(100) 400 650 930
JOYFUL NOISE (PG-13)
Fri. - Sat.(130) 430 715 1010
WAR HORSE (PG-13)
Fri. - Sat.(1250 PM) 440 PM 800 PM
EXTREMELY LOUD & INCREDIBLY CLOSE (PG-13)
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SHERLOCK HOLMES: A GAME OF SHADOWS (PG-13)
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UNDERWORLD AWAKENING IN REAL D 3D - EVENT
PRICING (R) - ID REQ'D ★
Fri. - Sat.(245) 515 745 1010
CONTRABAND (R) - ID REQ'D Fri. - Sat.(230) 500 730 1000
THE DEVIL INSIDE (R) - ID REQ'D Fri. - Sat.(215) 425 715 950
WAR HORSE (PG-13)
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