There are many psychological ailments that humans find themselves having difficulty with. Gambling, alcohol, drugs, and even sex can be problems for those who find them to be too much to overcome when they get out of hand and beyond their control. Shame is about sexual addiction and the problems that ensue when the lack of control makes it difficult to control how and when. Called sexually raw, Shame depicts a character named Brandon as a man who has problems. Seems he masturbates compulsively and stalks victims he chooses in the subway system of New York. This 30 something otherwise normal young man has a social problem that he claims to have no control over but it will ruin him and his life if he can't get help. irector Steve McQueen (no not that McQueen) put together a brilliant story that is far more common than believed. Michael Fassbender (Inglorious Basterds, Murphy's Law) is Brandon, Carey Mulligan (The Amazing Mrs. Pritchard, Dr. Who) is Sissy who is actually Brandon's sister who reappears in his life uninvited, and David is played by James Badge Dale formerly seen on The Black Donnellys and the TV mini series The Pacific.

The Roommate's premise seems simple enough, and in light of Virginia Tech and elsewhere, maybe even plausible. The studio says The Roommate is, ""A psychological thriller about a deranged college freshman who becomes obsessed with her new roommate." If the girls take Psych 101, they may learn "deranged" is not appropriate clinical vocabulary for a girl who systematically and deliberately murders all of her roommate's friends and loved ones. To their credit, Leighton Meister who plays Rebecca, first-year serial killer, and Minka Kelly, who plays Sara, unwilling object of obsession, rise above primitive writing and production values that fall far short of the balance between sex and fear, redeeming the movie as much as any two gifted girls might. The Roommate may be more valuable as a promotional piece for Los Angeles Loyola Marymount University; and, over time, the film may be far notable as a showcase for 2011 college fashions than for its riveting representations of paranoid schizophrenia. Will those nasty blood stains wash out of that adorable Abercrombie skirt?

The idea of The Master, which was filmed and released in 2012, could be traced back in 2000, when, as it was reported that Paul Thomas Anderson had the plans to create the movie about The Church of Scientology. However, the issues with the financing have blocked the implementation of conception until The Weinstein Company alongside with Megan Ellison, daughter of billionaire Larry Ellison (co-owner of Oracle Corporation), secured the financing of The Master in full. Likewise it has been some rumors that the movie was stalled because of too much of truth about The Church of Scientology has been revealed by Paul Thomas Anderson when he showcased The Cause sect (which was definitely prototyped from The Church of Scientology) in his movie. And because Hollywood has lots of influential and high-powered scientologists in his womb they have, allegedly, throw sand in the wheels of The Master filming and financing. In spite of the fact that The Church of Scientology Officials have rejected these rumors to be true and repeatedly insisted on their indifference concerning this movie, we have lots of doubts about it. The movie rather colorfully describes the sect and its leader Lancaster Dodd, whose personality was clearly copied from Scientology founder L. Ron Hubbard and very plausible displayed by talented performance of Philip Seymour Hoffman. You may be familiar with him by the roles in Moneyball, where he played Art Howe and in The Ides of March (Paul Zara). Dodd's apprentice, Freddie Sutton, who has climbed to the top of "The Cause" hierarchy suddenly starts to doubt about his teacher's belief, more and more being convinced the all he has to believe to is nothing more than fruits of his teacher's sick fantasies.

The American is a contemplative movie, yet unhurried and relaxed. Anton Korbeyn, who previously filmed only music videos, directed the movie ideally for the Clooney manner of playing. And that he succeeded. "Perhaps the director's fascination with photography was reflected in the "The American". The film is filled with static plans, where the sound is not important. In terms of speech: it is composed of multicolored mosaic of Italian and English, and the latter felt quite out of place, as the killer himself is an American lost somewhere in Italy in a small quiet town. Minor characters are also transmitted perfectly. There are two faces: a prostitute fallen in a true love, and a priest with a dark spot in his heart, that's a circle of acquaintances of the person cannot make friends. "The only thing that stands out from the track is the ending. During the movie could be the same hope for happy ending, or wait for the sad ending, and the result is an incomprehensible jumble. "But "The American" is an excellent movie, which in case you want to look for a second time, did not enjoy the story, or tricks with the shooting, and a serene image with an already old Clooney as the central figure. And in general, it is recommended to all the fans of the actor, as well as connoisseurs of European cinema.

"John Q" is a drama movie released in 2002, directed by Nick Cassavetes. The movie follows John Quincy Archibald, a father whose son is in desperate need of a heart transplant. However, John's insurance company denies coverage for the operation, and he is unable to pay for it himself. With no other options, John takes the emergency room hostage and demands that his son be put on the transplant list.

Disgrace is the movie based on the novel by John Coetzee, a Nobel Prize winner. It contains neither morals (what morality can be deduced from such a name?), nor appeals for tolerance, and something like a Hidden of Michael Haneke. There are gaps between blacks and whites which can be found in each episode. The movie does neither overwhelm by political correctness, nor features the newfound equal rights. The tragedy, as the philosopher said, not in collision of right and wrong sides. The tragedy is that both sides are right. Africa and Europe, black and white, villages and cities, children, and fathers: the conflict is known to be eternal, the only question is: does it stands at the level of mutual recriminations and petty mischief like a broken windshield, or grow into genocide or civil war.