#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Brandon is a 30-something man living in New York who is unable to manage his sex life. After his wayward younger sister moves into his apartment, Brandon’s world spirals out of control. Shame examines the nature of need, how we live our lives and the experiences that shape us.
Plot: Brandon, a thirty-something man living in New York, eludes intimacy with women but feeds his deepest desires with a compulsive addiction to sex. When his younger sister temporarily moves into his apartment, stirring up bitter memories of their shared painful past, Brandon’s life, like his fragile mind, gets out of control.
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|7.2/10 Votes: 184,154|
|7 Votes: 2284 Popularity: 21.905|
Has a good reputation among critics and film-buffs, but I thought this was duller than dullsville on a dull tuesday.
Fassbender has got to be one of the most overrated actors in recent times. He’s got a distinctive look and his eyes pierces through the screen I’ll give him that. And a well-sized johnson (as proven on numorous ocassions here) but other than that he’s fairly mediocre.
Shame is nothing short of a masterpiece: every shot tells a story.
SYNOPSIS: (from Google)
Successful and handsome New Yorker Brandon (Michael Fassbender) seems to live an ordinary life, but he hides a terrible secret behind his mask of normalcy: Brandon is a sex addict. His constant need for gratification numbs him to just about everything else. But, when Sissy (Carey Mulligan), Brandon’s needy sister, unexpectedly blows into town, crashes at his apartment and invades his privacy, Brandon is finally forced to confront his addiction head-on.
I’m certain Shame will always be my personal favorite McQueen film. McQueen tells a story with the camera and with the voice.
McQueen brought on Sean Bobbitt as cinematographer for this amazing project and Bobbitt does not disappoint. Together they craft some of the most revealing and beautiful scenes in recent cinema. The lighting for this movie (also headed by Bobbitt), aids in the visual storytelling.
Abi Morgan and McQueen’s script really shines, bringing Brandon’s addiction further into the light.
Harry Escott’s haunting score will never leave your brain after you see this film. Escott’s use of both classical and original pieces bring the film together.
Michael Fassbender gives a stunning performance as Brandon, one moment he’s casually strolling about, the next he’s acting on his most basic impulses, and the next he’s yelling at his sister. Carey Mulligan gave a great supporting role next to Fassbender as well. Both are given several scenes to shine.
The film uses its NC-17 rating to its fullest extent, yet none of the sex feels sensationalized. It’s all very real and most of the time almost disturbing to watch. McQueen delivers the entire story very artistically, including the sex scenes, which many directors could have messed up. This makes the film as a whole flow better. The movie portrays sex addiction (and addiction in general) in a very real way, while everyone is different we all feel shame after we’ve gotten our fix, and sometimes we’ll do anything to get that fix.
An expertly crafted and shocking film that will divide audiences
Despite having never seen Steve McQueen’s Hunger, the smouldering and sensational acclaim for Shame was simply unreal. Having heard terrific things about the film, I ventured out and snagged a last minute ticket to the premiere at the Toronto International Film Festival. Weeks later, I am still trying to decipher what may be one of the most shocking and raw films I have seen in quite some time.
The titular Shame in question is what Brandon (Michael Fassbender), a posh yuppie living in New York City, must live with every day. He is a sex addict, and his addiction knows no bounds. His estranged sister Sissy (Carey Mulligan) has also just dropped by his apartment for an extended stay, making things all the worse.
The plot may not sound like much, because there really is not all that much to it storywise. Shame is more of a portrait of a man struggling with his inner demons than it is anything else. There is a story at its very core, but the primary focus is always on Brandon, his addiction and what boundaries and limits it pushes him to. I had read about some of the more “unconventional” and decidedly non-mainstream sexual escapades (for lack of a better word) Brandon gets himself into, but I was still incredibly surprised and downright shocked by just how far McQueen goes with this character. He is brazen and uninhibited in what he shows on screen, bravely defying the conventions of what we typically can and cannot see in mainstream cinema. McQueen does not shy away from hard truths, and does not even try to mask the explicit nature of some of the sexual acts. Seeing how far Brandon will go to satisfy and suppress himself is simply harrowing, not unlike films like Trainspotting and Requiem for a Dream were with their characters’ drug addictions.
While the film and its frank depiction of sexuality are sometimes difficult to watch, I found myself mesmerized by the choreography and cinematography at play throughout. McQueen frames the film with the audience in the position of a voyeur. Early on, we see Brandon’s morning routine, featuring Fassbender roaming around his chic apartment totally naked. We see him at his most honest and his most vulnerable, a man who is unable to hide the truth about himself. Later, we watch him as he interacts with his office co-workers from behind huge glass windows, and from a table across from him at a restaurant while he is on a date. McQueen uses a lot of unbroken shots to help depict this slice of Brandon’s life through tracking shots and an immense amount of long shots. They help set the very somber mood, and allow the audience to continue watching as if they were an actual character peering into the events that transpire for him. McQueen also expertly uses music to help dictate the action on screen, tearing away the dialogue or sounds of the scene. It makes for an awkward feeling, but one that evokes a response with every new scene.
But for all of the shock and audacity, McQueen still managed to make a deeply troubled film that leaves a lot unsaid, and even more unresolved. He does not give out simple answers for what causes Brandon’s addiction, or even the reasoning behind the troubled and strained relationship between Brandon and Sissy. While leaving some things enigmatic and up to the viewers to decide (many have already voiced their concerns regarding incest, which seem a bit too outrageous for this kind of film) is incredibly intriguing and help further propel the voyeuristic means of viewing the film, it also makes for maddening thoughts afterwards. What exactly is McQueen trying to say? What is the point he is trying to make? It all feels like it builds towards nothing outside of an unsatisfying and deludingly ambiguous climax. As mentioned earlier, it feels like the story and just about everything else came second to the portrait he wanted to paint through Fassbender’s canvas. I can appreciate the film as it is, but it makes it hard to love it the way I thought I would.
Fassbender is stunning as Brandon, magnetizing the audience from the beginning all the way to the end. He propels the film, using his reactions and emotions to define the character. He makes Brandon’s struggle one that is very real, and almost horrific. He is unable to feel intimacy, and watching him struggle to fulfill his urges is fascinating and deeply disturbing all at once. Watching his face through candid closeups, you can see just how much raw power went into the role. But while it is a stellar and tortured performance that more than proves his weight as an up and coming actor, I never found him to be nearly as incredibly impressive as we know he can be. I still find myself at odds with how great it was, and how much greater it could have been.
While James Badge Dale is effective in his small role as Brandon’s smarmy and sleazy boss David, it is Mulligan who truly compliments Fassbender. Her role does not ask a whole lot of her, but her pained expressions and infinite desire to be loved by everyone is more than enough to make this a memorable turn for her. While the full frontal nudity was near useless, I only wish that she could have done more.
Shame is a very well done film, but one that will divide audiences. On one hand, it is an expertly crafted film about addiction that packs a great lead performance. On the other hand, it is a maddening film that answers very little it asks and sometimes shocks just for the sake of it. It is an impressive feat for a second feature, but one that I think could have been even better.
Pretentious Filmmaking at its Worst
***SPOILERS*** There is absolutely a great film about a man (or woman) who moves from sexual act to sexual act, unfeeling, looking to numb their existence.
This is not that film.
I understand the film was mostly improvisation. See, there’s a REASON for a script. Sometimes they’re good, sometimes they’re bad, but a script gives you a path find your way through the film. There’s no path here, just a really big, unkempt park with people screwing in the bushes.
Case in point: Powerful scenes can be formed with extremely long scenes, going beyond what would normally be used. You watch, you watch, then suddenly see something that changes the way you feel about a character, or an event.
Or you can just let the camera run on and on as you film people running or — oh, please just kill me now! — listening to a woman who can’t sing with a grating piano behind her as she sings the ENTIRE “New York, New York” song at roughly half the speed Marilyn Monroe sang “Happy Birthday” to JFK.
The actors were fine, I suppose. But it’s hard to know when they’re fighting their way out of this mess. Everything that you expect to happen, happens, and not with any great drama. Mostly you just don’t care about anyone on the screen.
Original Language en
Runtime 1 hr 41 min (101 min)
Director Steve McQueen
Writer Steve McQueen, Abi Morgan, Harold Manning (french adaptation)
Actors Michael Fassbender, Lucy Walters, Mari-Ange Ramirez, James Badge Dale
Country UK, Canada, USA
Awards Nominated for 1 Golden Globe. Another 51 wins & 92 nominations.
Production Company See-Saw Films
Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Arricam LT, Cooke S4 Lenses
Laboratory DeLuxe, New York (NY), USA (color), LipSync Post, London, UK (digital grading), Mega Playground, New York (NY), USA (dailies)
Film Length 2,752 m (Portugal, 35 mm), 2,757 m (6 reels)
Negative Format 35 mm (Kodak Vision3 500T 5219, Fuji Eterna 250D 8563)
Cinematographic Process Digital Intermediate (2K) (master format), Techniscope (source format)
Printed Film Format 35 mm (anamorphic) (Fuji Eterna-CP 3514DI), D-Cinema