Fifty Shades of Grey

Posted on February 12, 2015 at 5:50 pm

The Fifty Shades of Gray trilogy by E.L. James became an international blockbuster best-seller because it satisfies the deepest, most passionate, most secret longing of the female spirit. It has nothing to do with being tied up or spanked, but it is about domination.

I am not referring to the domination in the bedroom — or the red room of pain. I am referring to the fantasy of having a bad boy love you so much he turns into a pliable good boy. As a friend of mine once put it, “A lot of women dream of marrying Han Solo, and then spend the rest of their lives trying to turn him into Luke Skywalker.” From “Beauty and the Beast” to “Jane Eyre,””Wuthering Heights,” “Gigi,” “Jerry Maguire,” and “Pride and Prejudice,” the fantasy is of the female beauty and purity of spirit that are strong enough to tame a cold-hearted man (whose cold heart is of course the result of being lonely, misunderstood, and never having met the right woman, not in any way because he is a psychopath, a sociopath, or just a terrible person).

Beauty and purity are here in the person of the lovely and virginal Anastasia Steele (Dakota Johnson), an English lit major about to graduate from college. The role of The Beast is taken by uber-taker Christian Grey (Jamie Dornan), handsome, wealthy, successful, and equally adept at piloting a helicopter and playing classical piano. Ana arrives at Christian’s office with a list of questions from her roommate, who was scheduled to interview him (for an allotted ten minutes) but who is home with a bad cold. Though she trips over the doorway and forgot to bring anything to take notes with, Christian, a self-described superior judge of people, immediately and accurately spots some, well, steel in Ana. It is not her weakness that attracts him; it is her strength. “I Put a Spell on You” we hear sung over the opening moments, “because you’re mine.”

Who is the “I?”

Ana.

After one “vanilla” sexual encounter and a signed non-disclosure agreement, Christian shows Ana his special chamber stocked with every possible kind of whip, riding crop, handcuff set, and binding material, explaining, “I do this to women, with women, who want it.” He offers her a detailed contract spelling out the duties and restrictions expected of a submissive. Ana shows that, sexual inexperience aside, she and Christian have a lot in common. Their highly charged but playful “negotiation” in an office conference room is more erotic than the many sex scenes.

Ah, the sex scenes. Very Skinemax, very perfume commercial, not very non-vanilla, not, to my mind anyway, very exciting. Dornan never seems particularly passionate or tortured. Even the big whipping scene (six lashes, discreetly portrayed with no images of the whip hitting the skin or any marks left) comes across like another item to be crossed off a busy executive’s to-do list. For most of the movie, the porn-iest parts are the loving depictions of the trappings of wealth. Christian has a spare but luxurious office, staffed with women built like human whippets, all with tight blonde ballerina buns and impeccably tailored grey suits. His cars, his apartment, it’s all like the pages from a glossy shelter magazine. There’s a lot more kink in any given episode of Dan Savage’s podcasts, and more intensity, too.

Dornan has some appeal but never makes Christian seem dangerous. Johnson is the movie’s greatest asset. For a role that requires a lot of lip-biting, she has the two most important qualifications — a lovely lip and the ability to make biting it look natural. She has a natural warmth, intelligence, and humor that come across on screen and go a long way toward making the movie less silly than it could have been.

Parents should know that this movie includes very frank and explicit sexual references and situations including domination, bondage, and infliction of pain, nudity, drinking and drunkenness, and very strong language.

Family discussion: What made Ana different from Christian’s previous girlfriends? What do their names tell us about the characters? How can giving up control feel freeing?

If you like this, try: “9 1/2 Weeks” and the books by E.L. James

Related Tags:

 

Based on a book Drama Romance

Cloudy With a Chance of Love: Hallmark Channel Countdown to Valentine’s Day

Posted on February 6, 2015 at 8:00 am

Hallmark Channel’s countdown to Valentine’s Day features some old favorites and some new stories like “Cloudy With a Chance of Love,” premiering on February 8, 2015, at 8 pm (7 central). “Switched at Birth’s” Katie Leclerc stars with Michael Rady, Stacey Dash and Gregory Harrison, in the story of a meteorologist who finds some turbulence when she takes a job reporting on the weather at a television station.

Related Tags:

 

Romance Television

The Rewrite

Posted on February 5, 2015 at 5:53 pm

B+
Lowest Recommended Age: High School
Profanity: Some strong and crude language
Alcohol/ Drugs: Drinking
Violence/ Scariness: Mild
Diversity Issues: None
Date Released to Theaters: February 6, 2015

Sometimes all we want from a movie is Hugh Grant delivering witty, self-deprecating lines about his empty life and bad choices as he learns to find his heart and soul. You know, the cinematic equivalent to eating a pint of Rocky Road ice cream, wearing your comfiest pajamas. And every so often, we are lucky enough to get one. Writer/director Marc Lawrence understands exactly what we want from Grant in a romantic comedy. He gave us the underrated Music & Lyrics (its best moments include a wildly funny, spot-on version of a 1980’s music video and the delightful Kristen Johnson). He wrote “Two Weeks Notice,” in which Grant was so good it was possible to ignore the failures of the script. He even made Grant look good in the otherwise irretrievably awful Did You Hear About the Morgans? Here he has created just the right part for Grant as Keith Michaels, an Oscar-winning screenwriter who has had a string of flops and has now lost his family, his money, his self-respect, and any possible chance of a writing job in Hollywood, for which self-respect is not only not a necessity, but in fact is a liability.

Copyright 2014  Castle Rock
Copyright 2014 Castle Rock

The only prospect Michaels has of cash coming into rather than out of his bank account is accepting an offer to teach screenwriting at a liberal arts college in upstate New York where it rains all the time. The idea appalls him, but his long-suffering agent and his empty bank account persuade him to accept. He arrives determined “to do as little as possible while carrying on with this charade” but be miserable anyway. After he has sex with one of the students he realizes that college girls are lovely and young enough to see him as glamorous. After he insults one of the faculty members (Allison Janney, criminally underused as a humorless Jane Austen specialist who has never heard of “Clueless” or seen any of the movie adaptations, as if there was such a thing), he is reminded that he is, in fact expected to attend class and convey some information and guidance to the students. So, he selects his class on the basis of looks (the girls have to be what for reasons of civility we will just call pretty and the boys have to be what we will call not much of a threat as competition). In other words, he is using the class as a sort of analog version of Tinder.

It turns out that one of the students has written an excellent screenplay, which reminds him that he is capable of recognizing good work and a good opportunity to get back to Hollywood. He sends it to his agent asking her to offer it only if he can produce, not because he has any ideas or expertise but because it is leverage. And it turns out that one of the students is not young and pliable but certainly lovely. Her name is Holly (Marisa Tomei) and she is a single mom, too down to earth to qualify as a manic pixie dream girl, but certainly a life-force, filled with optimism that (thankfully) is not the usual mindless bubbliness but thoughtful and hard-won.

The film never takes itself too seriously, with winks at the audience including Grant’s character buying Jane Austen movies for a colleague (presumably including his own “Sense and Sensibility”) and watching his Oscar acceptance on YouTube (a real-life clip of Grant’s own Golden Globe win). There are no surprises, but sometimes, with a movie like this, that’s just what you want.

Parents should know that this film has very strong language, sexual references and situations including professor/student sex, drinking and drunkenness.

Family discussion: How does the script for this film follow the principals Keith teaches his students? Why is Holly cheerful?

If you like this, try: “Four Weddings and a Funeral,” “Sense and Sensibility,” and “Music & Lyrics”

Related Tags:

 

Comedy Movies -- format Romance

Help Save the Rom-Com! Make a 30-Second Rom-Com and Win a Prize!

Posted on January 12, 2015 at 3:17 pm

Did you know there was not one major romantic comedy release last year? What happened to all the Jennifers and Jessicas? All the meet-cutes and misunderstandings? All the quippy best friends and quirky roommates? All the cute pajamas and strolls through the farmers’ market and walks on the beach?

If Hollywood won’t provide, it’s time to crowd-source. Kevin Smith is here to help. Yes, Kevin Smith. Come on, you know he’s just a big old softie who believes in love.

It’s the 30 Second Rom Com Movie Challenge from Studio 360.

The meet cute, the first kiss, the misunderstanding, the chase, the wedding — we all know the scenes that make a romantic comedy both predictable and irresistible.

Your challenge: write and shoot a scene that plays with any or all of those tropes, in just 30 seconds or less.

Your judge: Kevin Smith, DIY master and director of Chasing Amy and Clerks. Win Kevin over with your creative twist on the classic genre. We’ll play the winning movie and have you as a guest on the show on Valentine’s Day weekend.

Extra Credit: 30-Second Rom-Com

HOW TO ENTER:
STEP 1: Create your film

• Use Vine, Instagram, Super 8, or using any other method to create an original rom-com.
• Your entry must be 30 seconds or less.
STEP 2: Submit your film

• Upload your movie to Youtube or Vimeo — and post the link on the Studio 360 contest page.
• Submit as many movies as you’d like.
• By posting your movie, you represent that: you have the right to post it; that it does not infringe on the copyright of any other person; and that, if you are under 18, you have permission from a parent or guardian to do so. (Be sure to follow Youtube and Vimeo’s Terms of Service.)
• Your video will be posted on our website and may be used in other Studio 360 platforms.
The deadline to be considered for our challenge is Sunday, February 1 at 11:59pm ET.

Kevin Smith will be back on the show to announce a winner.

Good luck, and if you win, don’t forget to thank me in your acceptance speech!

Related Tags:

 

Contests and Giveaways Romance
THE MOVIE MOM® is a registered trademark of Nell Minow. Use of the mark without express consent from Nell Minow constitutes trademark infringement and unfair competition in violation of federal and state laws. All material © Nell Minow 1995-2025, all rights reserved, and no use or republication is permitted without explicit permission. This site hosts Nell Minow’s Movie Mom® archive, with material that originally appeared on Yahoo! Movies, Beliefnet, and other sources. Much of her new material can be found at Rogerebert.com, Huffington Post, and WheretoWatch. Her books include The Movie Mom’s Guide to Family Movies and 101 Must-See Movie Moments, and she can be heard each week on radio stations across the country.

Website Designed by Max LaZebnik