Shame

Shame brings to mind Leaving Las Vegas.  They’re both about addiction, and neither are about redemption.  They’re both about addicts who have lost all inhibition, all control over their addictions.  They’re about people who’ve burrowed into their addictions, feeding their needs far past satiety, past loathing.  They wrap themselves in shame.  They are their addictions.

With Nicolas Cage in Leaving Las Vegas, it’s alcohol.  With Michel Fassbender in Shame, it’s orgasm.  And while these addictions are terrible and destructive, they aren’t, ipso facto, particularly compelling.  Humanity is compelling.  In Leaving Las Vegas, humanity comes in the guise of Elisabeth Shue as a prostitute who recognizes the man inside the addiction.  In Shame, it’s Carey Mulligan as a sister so damaged she forces the man to look beyond his.

Cage, of course, won an Academy Award for Leaving Las Vegas.  Fassbender deserved one for Shame, delivering a performance breathtaking in its fearlessness and competence.  His character begins the film a slave to his compulsions, yet he seems to have found some kind of a workable life balance.  When Mulligan’s character enters the scene, however, he’s forced to see himself.  His dawning realization, his reaction to that realization, and his subsequent evolution (or lack thereof) is absolutely magnificent to behold.

My tastes in film run toward the upbeat low- to middlebrow.  A movie like Shame, like Leaving Las Vegas, generally isn’t my thing.  But sometimes, a film is so good, so well made, so compelling, that it defies those tastes and becomes something I recommend to all my friends.  Leaving Las Vegas is such a film.  So is Shame.

The Grey

In The Grey, Liam Neeson plays a rifleman at North Slope oil operation. His job: shoot the large, fearsome wolves of Northern Alaska before they attack men out working on the equipment. For reasons that will be explained later in the film, he is deeply depressed and contemplating suicide.

On a charter flight from the North Slope down to Anchorage, his plane goes down. It falls to Neeson to rally the survivors and lead them first to shelter, then to home. This will pose challenge enough, until the wolves show up.  Now Neeson, without his rifle, must fight them for the survival of his pack.

What follows is an exciting, action-packed hour and a half of survivalist, wolf-battlin' action in the Frozen North. Neeson has both the acting and action chops to hold the film together, the set-pieces are both gripping and understandable, and the whole thing works. Will it provoke deep thought and long conversations? No. But it's a pleasant diversion and can make 90 minutes of your flight back in coach whiz right by.