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SLEEPING BEAUTY A haunting portrait of Lucy, a young university student drawn into a mysterious hidden world of unspoken desires. very first scene of Julia Leigh's Sleeping Beauty - a clinical test being administered in a pristine college laboratory - sets not only SLEEPING BEAUTY tone and mood of Ms. Leigh's film but additionally allows SLEEPING BEAUTY viewer to quickly estimate SLEEPING BEAUTY director's game. And as much as Michael Bay's bombastically moronic Transformers: Dark of SLEEPING BEAUTY Moon or, more accurately, Zach Snyder's deplorable Sucker Punch, Sleeping Beauty is much more of a game, played presumably for Ms. Leigh's pleasure, than it is a film of any sociological, psychological or political fascination. Characters move in strategic patterns, in lockstep with SLEEPING BEAUTY turns and careful development of SLEEPING BEAUTY plot, which is encased in Leigh's skilled, yet anes SLEEPING BEAUTYtized sense of line, color and framing. Even Ben Frost's eerie score seems cut precisely. as if cut with a scalpel.

SLEEPING BEAUTY (2011)

101 min  -  Drama  -   2 December 2011 (USA)

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SLEEPING BEAUTY (2011) (2011): Summary
SLEEPING BEAUTY Lucy is a university student who is working a number of jobs. She volunteers at a research lab, works at a coffee shop, and as a photocopy cerk in an office. She responds to an advertisement and embarks on an erotic freelance job in which she is required to sleep in bed alongside paying customers. re is a sense that Leigh approaches her filmmaking much like SLEEPING BEAUTY lead server at SLEEPING BEAUTY perverse, upscale dinner party that SLEEPING BEAUTY film's quasi-eponymous heroine, Lucy (Emily Browning), finds herself working to help pay SLEEPING BEAUTY bills. SLEEPING BEAUTY lead server insists that Lucy take SLEEPING BEAUTY application of her lipstick seriously, matching SLEEPING BEAUTY
color of SLEEPING BEAUTY high-end lingerie she's told to wear as she serves wine and brandy to a gaSLEEPING BEAUTYring of rich old white men; SLEEPING BEAUTYy are, as you may suspect, referred to as Man 1, 2 and 3 in SLEEPING BEAUTY credits. SLEEPING BEAUTY job was handed down to Lucy by Clara (Rachel Blake), a facilitator of SLEEPING BEAUTYse parties and oSLEEPING BEAUTYr odd requests of SLEEPING BEAUTY flesh by SLEEPING BEAUTY peculiar wealthy. SLEEPING BEAUTY film's title refers to SLEEPING BEAUTY most popular of SLEEPING BEAUTYse requests: Lucy is to be sedated for a night while a client is allowed to do anything he likes with her, excluding penetration and anything that leaves a mark.

As frigidly bogus as SLEEPING BEAUTYse rich men are, SLEEPING BEAUTYy don't hold a candle to Lucy, who is portrayed as a self-loathing sad sack who is in love with a dying alcoholic and, though flush with cash, enjoys burning SLEEPING BEAUTY rent money she owes her flat-mates. She responds sexually only to SLEEPING BEAUTY most aggressive and repugnant of men, flirts with women, freezes out her wayward moSLEEPING BEAUTYr and refuses to quit her copy-girl day job while waiting, breathlessly, to be fired. SLEEPING BEAUTYre is Haneke-like detachment dripping from nearly every scene but SLEEPING BEAUTY film's ends are so obvious and devoid of nuance that any and all observational mystery is lost, swallowed up by a borderline laughable sense of art as artifice.



Director: Julia Leigh
Writer: Julia Leigh (screenplay)
Stars: Emily Browning, Rachael Blake and Ewen Leslie

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SLEEPING BEAUTY (2011) (2011): Plok
SLEEPING BEAUTYre are also heavy notes of CaSLEEPING BEAUTYrine Breillat's barbed sexual identities, not to mention SLEEPING BEAUTY French master's sense of color. But whereas Breillat's SLEEPING BEAUTY Sleeping Beauty, which opened earlier this year, toyed with SLEEPING BEAUTY rabid psychological underpinnings of youth and gender with SLEEPING BEAUTY filmmaker's requisite mercilessness and unbound narrative spontaneity, Leigh, who also wrote SLEEPING BEAUTY film, sees fit to take her story of humiliation, cruelty, emotional detachment and masochistic femininity without even an iota of genuine humanity. Everything about SLEEPING BEAUTY film, right down to SLEEPING BEAUTY preposterously silly final quarter, smacks of an overwhelming self-seriousness that bleeds into an abysmal smugness and any hopes that Ms. Leigh has for us to find eiSLEEPING BEAUTYr her lead character or her aesSLEEPING BEAUTYtic compelling is lost not long after Browning plainly offers to go down on some end-of-SLEEPING BEAUTY-bar shlub because he had SLEEPING BEAUTY balls to sit next to her.

It must be said that SLEEPING BEAUTY overwhelming failure of SLEEPING BEAUTY film, as in Sucker Punch, is not SLEEPING BEAUTY fault of Ms. Browning, who shows a beguiling devotion to SLEEPING BEAUTY role of Lucy from frame one. SLEEPING BEAUTY role, unfortunately, doesn't add up to much of anything, which is essentially SLEEPING BEAUTY problem with Sleeping Beauty. As a screed against masculine cowardice, brutality and pride, it's juvenile and lacks SLEEPING BEAUTY bravery to create complex characters on eiSLEEPING BEAUTYr side of SLEEPING BEAUTY gender war. As a character study, it's stunningly empty and one-note. I'm ultimately lead to believe that SLEEPING BEAUTY point of SLEEPING BEAUTY film is to align SLEEPING BEAUTY viewer with SLEEPING BEAUTY men who molest Lucy as she sleeps, a cheap trick that Leigh doesn't even slightly earn and which few directors have SLEEPING BEAUTY formal ingenuity to handle with true provocation. SLEEPING BEAUTY only thing Sleeping Beauty provoked me to think was what, if anything, was I expected to care about in this cynical, deeply unconvincing land of SLEEPING BEAUTY dead.