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Legend has it that upon its original release, Titanic was listed as running for two hours and 74 minutes, to placate 'dumb' Americans averse to films over three hours. Titanic's strength is not its trite central 'lust story' but its accumulation of small human tragedies against the disaster of the ship's final hours.
The characters' move to India is not merely about stepping outside of comfort zones, but also stepping beyond the familiar in order to examine life in, literally, a new light. Graham has unfinished business there that dates back to his youth. Ageing tomcat Norman simply wants to get laid.
The action takes place in 2008 on the eve of the GFC, at an investment bank loosely modelled on Lehman Bros. The CEO is monstrous; a kind of sinewy bishop to capitalism, gaunt and vicious. Yet even the most principled characters are shown to compromise to varying degrees in the name of self-interest.
One of the boys had been charged with murder. The details of his alleged deed revealed a process of systematic humiliation and cruelty towards the victim. It was extremely difficult to reconcile this when looking into the face of a 14-year-old boy.
We follow 27-year-old Adam from his diagnosis through the hazards of chemo to still more hazardous surgery. He is aided along the way by the world's worst doctor and a therapist too inexperienced to be of any help. Some cancer stories are as funny as they are tragic.
As with Christos Tsiolkas' The Slap, an act of violence involving children acts as a catalyst to exacerbate the adult characters' prejudices, insecurities and resentments. Aided by alcohol, civility is gradually stripped away as a polite gathering degenerates into bullying and abuse.
The women begin withholding sex from their husbands in order to pressure them into bringing running water to their remote North African village. This act of self-empowerment brings hardships to both the men and the women of this patriarchal Islamic community.
The 'quarter life crisis' is perhaps a Gen Y phenomenon where, despite a dedication to 'experience' and 'connection', one feels life is hollow. The greatest weakness of Any Questions For Ben? is that it offers pat answers to existential questions, where perhaps it should offer none.
Walk in one direction and you meet a photograph of a dog humping a naked man. Turn a corner and there is a long row of plaster-cast vaginas. In one place a mummified cat's head. Shock is not new in art, but it loses its transgressive power when pursued for its own sake.
Brandon's addiction finds several expressions, from excessive pornography use (including on his work computer), to one-night stands, to more deviant behaviours. Shame explores the addict's humanity both frankly and artfully.
The problems do not begin and end with badly applied fake jowls. J. Edgar introduces its subject in his later years, reflecting back on his life. This manipulative tactic errs on the side of sentimentality, when Hoover, like Margaret Thatcher, is not a figure to whom sentimentality can be easily attached.
The Renaissance embodied a revolution not only in form, but in content. Bellini's Madonna and Child is enlivened by a zesty piece of human theatre: the baby Jesus, anxious to be on his way, raises one leg in a gesture of defiance, a perfect half-scowl etched onto his tiny features.