CoverGirl Pulls Taylor Quick Ad Over Eye lash Improvements

First Released: December 21, 2011 10:26 PM EST Credit: CoverGirl La, Calif. -- Caption The now-drawn Taylor Quick CoverGirl adA Taylor Quick CoverGirl ad was drawn after a marketing watchdog organization determined a cosmetic ad featuring the star was misleading. Procter & Gamble, parents company behind CoverGirl, made a decision to pull Taylors add for CoverGirl NatureLuxe Mousse Mascara following the National Advertising Division from the Council of Better Business Agencies determined the ad was misleading, the NY Occasions reported. The ad featured the singer appearing and revealing her peepers with very plump lashes but additionally, at the end, in terms and conditions read, Lashes enhanced in publish production. The rule is the fact that advertising needs to tell the truth, accurate and never misleading, Andrea C. Levine, an attorney who done the situation, and also the director from the National Advertising Division, told the newspaper. Exactly what the picture states, the little type cant go away. This is not the very first time an advertisement having a celebrity has attracted the ire of the advertising watchdog organization. In This summer, a Lancome ad with Jennifer Aniston along with a Maybelline place featuring Christy Turlington were banned in great britan, following claims the pictures didn't reflect realistic outcomes of the items. Copyright 2011 by NBC Universal, Corporation. All privileges reserved. These components might not be released, broadcast, rewritten or redistributed.

Comedy nominees for best picture

'50/50''Bridesmaids''The Artist''Midnight in Paris''My Week with Marilyn'Comedies and musicals thrive in tough economic times, so perhaps it shouldn't be a surprise that the 69th Golden Globes boast the strongest list of nominees in that category for many years.For the first time in nearly a decade, there's a real chance that the winner of the Golden Globe for best musical and comedy could be a serious challenger at the Academy Awards.Just one comedy/musical nominee in the past three years has gone on to an Oscar nomination -- last year's Golden Globe victor "The Kids Are All Right." And the last time the winner of the best picture Oscar came from this category was "Chicago" in 2002.But with nods for "The Artist," "Midnight in Paris," "Bridesmaids," "My Week With Marilyn" and "50/50," this year's contest looks every bit as substantial as the race for best drama."The Artist" in particular leads the overall Golden Globe nods with six, and is firmly established as the awards season front-runner with the guilds and critics groups. In each of the past four decades, just one Golden Globe comedy/musical winner has taken the Oscar for best picture, and the odds are shortening on "The Artist" achieving that feat in the 2010s.The HFPA voters have certainly managed to avoid handing any easy targets for the show's returning host Ricky Gervais, after last year's eccentric selection of nominees including "The Tourist," "Red" and "Burlesque," which confirmed the traditional status of this section as a lightweight sideshow to the main event.But that may be due in part to a cultural misunderstanding. The HFPA is, after all, an organization of foreign journalists, albeit based in Los Angeles. Comedy is notoriously known as the genre in which the gulf in national tastes is greatest."The Tourist" may have been dismissed as a disappointment in America, but this European-financed movie, set in Italy and directed by a German, was a genuine hit overseas, where it grossed $208 million against $68 million domestic.In fact, in the past three years, 11 out of the 15 comedy/musical nominees have grossed more in foreign than domestic. The total domestic gross of these 15 films was $1.3 billion, but their total foreign gross was $2.1 billion.The evidence of international tastes is visible again this year, with a decidedly Gallic flavor infusing the nominations. "The Artist," of course, is a French homage to Hollywood, while Woody Allen's "Midnight in Paris" returns the favor with an American auteur indulging his amour for the French capital.Perhaps it's only a coincidence that one of the central conflicts in "Bridesmaids" also revolves around a French-themed engagement party and an aborted trip to Paris (Vegas, that is). A short hop across the Channel, "My Week With Marilyn" is this year's British entry.There's no shortage of weighty dramatic themes among these supposed lighter-hearted contenders, including cancer ("50/50") and depression ("Bridesmaids"). But there's also ample evidence of the HFPA's love for the froth of Hollywood with "The Artist" and "My Week With Marilyn." "Midnight in Paris" reflects the org's abiding fondness for Allen; it's the helmer's ninth pic to get nominated.But that leaves no place for more frivolous fare such as "The Muppets" or "Footloose," while "Beginners," "Carnage," "Young Adult" and "Crazy Stupid Love" also get squeezed out despite picking up acting nods.GOLDEN GLOBES COUNTDOWN Year of couples therapyThe ContendersDrama: Best Picture | Comedy: Best Picture | Best Director | Drama Actor/Actress | Comedy Actor/Actress Contact the Variety newsroom at news@variety.com

Will Ferrell's Spanish comedy gets a teaser trailer

Will Ferrell's Spanish-language comedy Casa De Mi Padre has just launched its first teaser trailer.Giving a feel for what to expect, the film looks to be playing up to Ferrell's absurd comedy stylings.He stars as Armando Alvarez, who, as well as having a pretty melodramatic home-life, isn't afraid to pick up a rifle and turn vigilante when the occasion calls for it.There are shades of !Three Amigos! to this one, which is no bad thing.Check out the trailer here: There's also a new poster doing the rounds, although it's not quite as cool as the previous Case De Mi Padre teaser poster. Check that out here:Casa De Mi Padre opens on 16 March 2012 in the US.

New John Carter TV spots bring the action

Two new TV spots promoting upcoming Disney sci-fi epic John Carter have landed online, and they both play up the battle scenes.Yahoo! Movies has condensed the two 30-second promos into one video, which you can watch below.There are still echoes of Avatar and Attack Of The Clones here, but it looks like the action is being pulled off with considerable flair.And if sci-fi movies and unusual aliens aren't your thing, there's plenty of human flesh to ogle (take your pick from Taylor Kitsch's Carter and Lynn Collins' Martian princess Dejah Thoris).Check out the TV spots below:John Carter opens on 9 March 2012.

Rooney Mara's 'Law & Order: SVU' Role: 'It Am Awful'

Michel Gondry has directed a couple of from the more intriguing films in the last ten years, including 'Eternal Sunshine in the Spotless Mind' and 'The Science of Sleep.' Alas, his latest movie, 'The Eco-friendly Hornet,' didn't exactly conquer experts or audiences, which explains why it's nice to find out Gondry coming back to something a little more innovative -- even when it's a small-quality reshoot from the Martin Scorsese movie. ThePlaylist just found the director's entertainment of 'Taxi Driver,' which carried out within the French premiere of 'Hugo' the 2009 week. The homage is known as sweding, a technique that Gondry looked into within the film 'Be Kind Rewind,' where fans get available and recreate their particular versions of classic movies. In this particular version of 'Taxi Driver,' Gondry plays the complicated Travis Bickle, employment made famous by Robert P Niro. Named in French with British subtitles, Michel re-imagines numerous more legendary moments for your film (it's strange to hear P Niro's famous "You speaking in my opinion?In . lines in another language). Gondry also utilizes plenty of creative eccentricities, like changing fresh fresh paint for blood stream and colored pens for bullets. Sadly, there is no embed for your video. If you want to have a look, you will have to mind to France2. [via ThePlaylist] [Photo: Getty Images] Follow Moviefone on Twitter Like Moviefone on Facebook

REVIEW: Post-Bromantic Attraction in Sherlock Holmes 2: A Game of Shadows, Or: Holmes + Watson 4eva

Romance! Jealousy! Temptation! There’s an alluring new stranger vying for Sherlock Holmes’s attentions and affections in Guy Ritchie’s turn-of-the-century sleuthing sequel, A Game of Shadows, but it’s not the dark and beautiful gypsy woman at the center of Holmes’s latest mystery. For that matter, Holmes’s on-again, off-again ladyfriend Irene Adler doesn’t truly have his heart, either. It’s BFF and hetero life partner Dr. Watson who forms the tale’s real love triangle with Holmes — escalating the first film’s bromantic undercurrent of mutual admiration and “circumstantial homosexuality” to overt, unabashed man-love and dangerous attraction — with tantalizingly evil interloper Professor James Moriarty. Where 2009’s Sherlock Holmes introduced Robert Downey Jr.’s manic take on Sir Arthur Conan Doyle’s iconic detective hero with a fairly bland, small potatoes (if intentionally labyrinthine) plot and villain, only hinting at the ominous machinations of famed Holmes nemesis Moriarty (Jared Harris), A Game of Shadows ups the ante and continues where things left off. Months after solving the Blackwood case, Holmes has retreated back into manic-depressive seclusion in his squalid flat, consumed by a web of conspiracies he’s traced back to celebrated game theorist, lecturer, and criminal mastermind Moriarty; by no small coincidence, Watson (Jude Law) has been busy planning his wedding to Mary (Kelly Reilly), leaving Holmes in a lonely, formaldehyde-swilling, depressed-obsessive malaise. Holmes perks up when a terrorist bomb plot blamed on anarchists points to his new foe, who happens to have also recently disposed of his reluctant pawn Irene, her crafty services rendered unnecessary due to her pesky penchant for Holmes. That gets Sherlock’s goat, all right (and, gratefully, relieves us of Rachel McAdams, who never could keep up with RDJ’s jaunty pace — thank goodness for the capable, darting Noomi Rapace, who makes her English language debut) but that which tickles him so about Moriarty is almost purely intellectual — the challenge of facing off against rival as evil as he is moral, who can match him, and perhaps even best him, in a game of wits. Put it this way: With soul mate Watson off committing his nuptials to a woman, it’s Moriarty who stirs Holmes’s senses and seduces him back into action. The play between wild-eyed Downey and the serenely unsettling Harris crackles with a chemistry befitting Doyle’s iconic literary nemeses as Moriarty stays coolly one step ahead of our hero throughout the serviceable Euro-tripping plot. Kieran and Michele Mulroney’s script takes Holmes and Watson (not to mention periphery characters like Holmes’s brother Mycroft, played by a delightfully daft-dapper Stephen Fry) through gypsy camps, anarchist hideouts, the Paris Opera House, a German munitions factory, an international diplomatic summit, and the snowy Swiss Alps in the pursuit of Moriarty, who unveils his intentions bit by bit until the scope of his plans are revealed. Along the way, Holmes and Watson reconnect and rekindle their relationship. A train ambush on the night of Watson’s honeymoon gives Holmes the perfect opportunity to slyly take Mrs. Watson out of the equation — for her own safety, naturally — leading to the film’s most obvious series of post-bromantic scenes: Holmes, in drag, finagles intimate poses with Watson under the cover of a masculine, wall-smashing train shoot-out. Their love affair is no longer subtextual; Ritchie exploits it for laughs with a knowing nod as if to say yes, these men are in each others’ hearts. One of them is rouged up in a corset. What of it? After all, the times are a-changin’. Industrialism is emerging in the world. Why not depict progressivism where emotional politics are concerned? Even the action achieves a balance of muscular machismo and delicate elegance. A forest chase through the woods of Germany allows for Ritchie’s showiest new trick, exploiting multiple high-speed cameras to explode entire tree trunks in gorgeous showers around his fleeing actors. Steadicam-like rigs trained on Holmes and Co. as they race through the battle give a disorienting, panting urgency to the chaos. The professor has designs on profiteering from World War — a cynical plot to capitalize on man’s natural impulse for conflict, he explains — but even Moriarty can’t resist delaying his plans for a last-act game of chess with Holmes. Ritchie dusts off and builds on the gimmicky Sherlock-o-Vision he devised in the previous film, which utilized speed ramping and choreography to illustrate Holmes’s near pre-cognitive ability to preview his own fist fights; the twist here allows for a delicious, penetrating intimacy that takes the Holmes-Moriarty pas de deux to its climax. Doyle students may see the final act telegraphed from a league away and heave a heavy sigh, or peck at the franchise’s signature obligatory plot convolutions and self-satisfied cleverness. Action purists should be entertained enough by the slick spectacles Ritchie chains together, set against as handsome a historical London as you’re bound to get from the movies. But focus on the heart of Holmes and there’s a well of emotions, attraction, and longing roiling beneath the natty threads, Downey-isms, and faux Victorian panache on display. The women of Sherlock hold their own, for the most part, but this is a romance for men — at least, it’s one for Holmes and Watson and Moriarty, who each discover that the dread, or triumph, of a world-changing event is no match for the heart-pounding pull of finding, or losing, the one person in the world to whom you’re indelibly, inextricably tied. Follow Jen Yamato on Twitter. Follow Movieline on Twitter.

Seth Rogen To Host Spirit Honours

La (December 13, 2011) Film Independent, the non-profit arts organization that creates the Spirit Honours and also the La Film Festival, introduced that Seth Rogen assists as host for that 2012 Film Independent Spirit Honours. The 27th annual honours ceremony is going to be held like a daytime lunch inside a tent around the beach in Santa Monica on Saturday, Feb 25, and also the premiere broadcast will air later your evening at 10:00 p.m. ET/PT on IFC. Diana Zahn-Storey, a longtime executive producer from the Film Independent Spirit Honours is going to be coming back this season. After executive creating the show for 15 many the La Film Festival for eight, Diana left Film Independent last year to co-found Nuts-n-Bolts Productions. In the last 2 yrs, Nuts-n-Bolts has created several occasions such as the Children Healing Hearts Peace Please Gala, La Point Honors Gala and also the goodies! Magazine Launch party. In past years, Diana has done the PacSun Summer time Solstice Beach Ballyhoo, this years Glee premiere and also the 2010 Entertainment Weekly Emmy Party, along with Ray Abel Designs. Diana has a lot more than twenty-5 years experience of film, television and event production.

FEINBERG FORECAST: 'Descendants' Wins LAFCA, 'Tinker' Opens Strong, 'J. Edgar' Fading

Brad Garrett, the Emmy-winning actor best known for his work on Everybody Loves Raymond, is in negotiations to join the high-powered cast of Burt Wonderstone, New Line's magician comedy.our editor recommendsOlivia Wilde, Steve Buscemi in Talks for Steve Carell's 'Burt Wonderstone' (Exclusive)Showtime Orders Steve Carell-Produced 'Laughing Stock' Steve Carell toplines the movie, set in the world of rival Las Vegas magicians. Carell plays a more traditional magic man who is dethroned by a hipper illusionist doing dangerous tricks. He breaks up with his partner and must find a way to rediscover his love for magic. Jim Carrey, James Gandolfini, Olivia Wilde and Steve Buscemi already are on board. Garrett will play a supporting role as Carrell's accountant, whom he fires. The movie is scheduled to go before cameras in January. Don Scardino (30 Rock) is directing. Garrett won three Emmys for Raymond (he was nominated five times), the long-running and critically acclaimed sitcom. He also starred for four seasons in the comedy 'Til Death. He is repped by UTA, Management 360 and attorney Michael Gendler. Email: Borys.Kit@thr.com Twitter: @Borys_Kit PHOTO GALLERY: View Gallery Modern Film & Television Comedians Related Topics

Ben Kingsley Plays 'Ender's Game,' Sacha Baron Cohen Feels 'Les Miserables'

Ben Kingsley can't get an adequate amount of his "Hugo" costar Asa Butterfield, apparently. Their effective dynamic within the Martin Scorsese 3-D period piece was easily among the highlights of this movie, and audiences are going to be treated to a different collaboration between your set of stars. THR reviews that Kingsley is within foretells join "Ender's Game," Gavin Hood's adaptation from the sci-fi classic from novelist Orson Scott Card. Butterfield was formerly cast within the title role with "True Grit" actress Hailee Steinfeld teasing using the project too. For his part, Kingsley would play popular war hero lengthy presumed dead. Have more casting news following the jump! » We have always known that Sacha Baron Cohen is online resources the home, however it's pretty much official. The "Borat" and "Bruno" starwho also offers the "Hugo" link with these Kingsley and Butterfield, mind youis in foretells play Thnardier in Tom Hooper's musical adaptation of "L'ensemble des Miserables," based on Entertainment Weekly. Thnardier, you might recall, may be the twisted innkeeper who abuses poor Cosette if cast, he'd play opposite Helena Bonham Carter as his equally wretched wife. » He ducked on the Academy awards, but you are not eliminating Eddie Murphy that simply. The "Tower Heist" comedian is striking the little screen by means of HBO's untitled biopic about former Washington D.C. mayor Marion Craig, reviews THR. Spike Lee is mounted on direct. » Talking about Spike Lee, should you be wishing for Colin Firth to terrorize Josh Brolin within the director's approaching "Oldboy" remake, we have got a bit of disappointing news. Twitch reviews the Oscar champion has made the decision to pass through around the American version from the Chan-wook Park revenge thriller, departing the doorway available for an additional actor to accept coveted theif role. Who'd you suggest to exchange Firth? Colin Firth talks "Oldboy" options! Inform us that which you think about present day casting news within the comments section as well as on Twitter!

Discord Between PGA And WGA TV Noms Highlights Eligibility Period Differences

Breaking Bad, Modern Family, Boardwalk Empire & Homeland Lead WGA TV Noms Modern Family, Big Bang, Parks & Rec, Game Of Thrones, Mad Men Among PGA Award Series Nominees Seconds after the Producers Guild announced the TV series nominations for its 2012 awards, commenters started asking in disbelief: Where is Breaking Bad? Indeed, the acclaimed AMC drama was conspicuously missing from the PGA Award nominations. Underscoring what appeared like a baffling omission, the WGA announced its TV series nominations minutes later, and Breaking Bad led the pack with three nominations. But while their ceremonies are only a month apart in January-February, the PGA Awards and WGA Awards’ edibility windows vary wildly, leading to the puzzling discrepancies. Despite taking place in January, the PGA Awards use the same edibility period rules as the Emmys, which are held in September: from June 1, 2010 to May 31, 2011. That automatically excludes all summer/fall cable fare, including new Showtime drama Homeland, the most recent seasons of Breaking Bad, Curb Your Enthusiasm, Louie, etc., as well as any new fall broadcast series. In contrast, the WGA Awards’ window of eligibility is closer to that for the Golden Globes, between Dec. 1, 2010 and Nov. 30, 2011. That’s why Breaking Bad, Curb and Homeland, which were not eligible at all for PGA Awards this year, landed WGA Award nominations, along with Fox’s new comedy New Girl. In fact, Breaking Bad and Homeland scored the most WGA nominations, three, along with perennial favorites Mad Men and Modern Family. Meanwhile, Mad Men, which was featured prominently in the PGA Award nominations, is MIA for WGA accolades because its fifth season was delayed. Given how much the TV landscape has changed, with some of the best series airing in the summer and promising new series launching on both broadcasting and cable networks in fall, the eligibility period for the PGA Awards seems outdated and should be adjusted, so series don’t get awarded for episodes that aired 1.5 years prior.

Billy Graham Hospitalized with Pneumonia

Billy Graham Billy Graham was hospitalized Wednesday with pneumonia, but is "responding well" to treatment, according to his rep. "Based on test results, doctors for Billy Graham confirm diagnosis of pneumonia, but are encouraged he is responding well to antibiotics," Graham's rep, A. Larry Ross, tweeted on Thursday. Graham's pulmonologist, Dr. Mark Hellreich, also released a statement that was posted on Graham's website Thursday saying that the 93-year-old evangelical is "in stable condition." Check out videos of Billy Graham On Wednesday, Ross tweeted that Graham had been admitted to Mission Hospital in Asheville, N.C., for treatment for his lungs. According to Ross, Graham was "alert" and smiling and waving at the hospital staff upon his entrance. No date has been set for his discharge, but according to his website, "Mr. Graham is looking forward to returning home to spend the upcoming Christmas holiday with his family." Graham, who rose to fame in the '40s when his sermons were broadcast on the radio and television, has spent time with 12 sitting U.S. Presidents going as far back as Harry S. Truman.

REVIEW: Fassbender, Focused Yet Unselfconscious, Makes Shame Compelling

Steve McQueen’s Shame is perhaps mistitled: It’s the story of a man who has sex more often than he probably wants it, though still not as often as he needs it, which is a pretty fine distinction to make. And the word “shame” by itself is too loaded, too inherently judgmental. The idea isn’t that this character — his name is Brandon and he’s played, superbly, by Michael Fassbender — is doing anything he ought to be ashamed of. It’s simply that the shame he feels is nearly unbearable. Shame could have gone all wrong with the wrong actor. Luckily, McQueen has the right one in Fassbender, and that makes all the difference. Shame is formal to the point of austerity: It opens with a nearly still overhead shot that’s inherently painterly, a tableau of a male nude — that would be Fassbender — semi-obscured by drifts of artfully rumpled blue sheets. McQueen, of course, is a fine artist himself — that’s how he made his name before he became well-known as a filmmaker, with the 2008 Hunger, also starring Fassbender. And there are ways in which Shame is too deliberate, too naked in its specificity. That may account for why some of its detractors consider it moralistic — again, the movie’s title isn’t helping it any. I did groan when Brandon is shown having desperate, uncomfortable outdoor sex, and later when, in what is supposedly the ultimate debasement, he allows a man to perform fellatio on him in the dim back room of a gay bar. (Immediately after that, he has to re-establish his “manliness” by having sex with two women at once.) But I think Shame is ultimately a movie about emotional suffering, and not about what we think of as sex addiction (if such a thing actually exists, and I’m unconvinced). Fassbender’s Brandon is a successful and rather uptight NY professional — you can tell by the way his apartment is furnished with a turntable and some LPs, a bed, a laptop for online porn, and little else — who suffers from sexually compulsive behavior. Calling him a sex addict is too convenient; what Brandon suffers is more peculiar and more painful. He meets women in bars, and because he’s so charming and good-looking, they wouldn’t dream of resisting his advances; he initiates potential encounters with luscious strangers he sees on the subway; at work, he leaves his desk for the men’s room, where he relieves his urges with joyless efficiency; and when none of the above are an option, he has assignations with prostitutes. Brandon’s passive-aggressive boss, David (James Badge Dale), is also something of a buddy and a hanger-on — the two troll city bars together, looking to pick up women, though the prattling David strikes out more often than he scores, while Brandon barely needs to arch an eyebrow. Even as David tries to glom onto Brandon’s subterranean attractiveness, he also finds not-so-subtle ways to register his disgust with his pal’s beyond-healthy sex drive: Early in the movie, Brandon finds that his computer has been whisked away temporarily by the company’s tech department. He knows — and we know — why. When a blond pixie of a woman shows up in Brandon’s apartment, you assume it’s one of his former conquests. It turns out to be his sister, Sissy (Carey Mulligan), a sometime jazz singer who’s landed in NY for a few gigs, and for whatever reason, Brandon is none too pleased to see her. Sissy is charming, fragile, off-the-charts needy: Not long after she lands in Brandon’s apartment, we hear her in the next room pleading with an unseen someone on the phone. “I love you, I love you,” she repeats as if it were a compelling mantra, when really it’s desperately repellant. Even more significantly, we see how breakable she is when she performs “NY, NY” in a club one evening — it’s mournful and expectant rather than jubilant, as far away from Frank Sinatra’s version as Times Square is from the moon. The song and it singer affect Brandon in a way that we can’t immediately comprehend, though it clearly opens a gate into the persistent, repetitive pain he’s feeling. The bare story of Shame, when you lay it out, doesn’t seem like much. But the actors bring everything to it; their suffering is both magnetic and painful to watch, almost as if it were a variation — or an aberration — of basic sexual attraction. Mulligan, with her bleached-blond crop of hair, resembles one of the cool-customer chanteuses of the ’50s, like Helen Merrill but with a cherub’s face — there are shades of the young Stockard Channing in her, too. Mulligan is terrific here, and restrained in a way that suggests an actorly generosity unusual for someone so young: Her scenes with Fassbender don’t so much say “Look at me” as “Look at him.” Although of course, it would be impossible not to. Fassbender is outrageously handsome in the conventional sense, but in this role, there’s also something guarded and reticent about his expressions. He resembles the young Christopher Plummer — his smile is gaunt and a little forced, like a death’s-head grin. When Hunger debuted at Cannes in 2008, Fassbender — playing Irish hunger-strike activist Bobby Sands — was a revelation. Now he’s ubiquitous, potentially to the point of overexposure, appearing in everything from comic-book blockbusters (X-Men: First Class) to tony literary adaptations (Jane Eyre) to David Cronenberg movies about the professional and personal tussles of Freud and Jung. Yet each performance, and each project, is so different from the last that it’s still a joy to watch him. He has one of the gifts that great actors need: the ability to be focused and unselfconscious at the same time. He knows when to surrender and when to call every muscle and brain cell to attention. Even though Shame is about sex, there’s only one scene that qualifies as truly sexy, and it’s so erotic, so frank without being explicit, that its culmination is devastating. (Brandon’s partner in this scene is a co-worker named Marianne, and she’s played marvelously by Nicole Beharie.) I hesitate to give away anything more, but I wonder who will find this scene more upsetting, men or women? My heart sank when I saw where it was going, and I thought it was just me, but when I first saw this picture, at the Venice Film Festival earlier this fall, the woman next to me also gasped. Fassbender and Beharie play the moment with extraordinary, and painful, grace: She watches as he essentially disappears into another country, a place where she can’t follow. Shame is, like Hunger, beautifully made, and similarly, it’s about a man at war with his own body. And again Fassbender — here playing a character whose capacity for tenderness is in danger of being erased by his self-hatred — shows us something new in his face, whose basic features have by now become pretty familiar. He’s the kind of actor who leaves you thinking about what you’ve just seen and wondering what he’ll do next. His face is the opposite of overexposed: It’s an unwritten future. [Editor’s note: Portions of this review appeared earlier, in a different form, in Stephanie Zacharek’s Venice Film Festival coverage.] Follow Stephanie Zacharek on Twitter. Follow Movieline on Twitter.