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134 out of 200 people found the following review useful: To Doubt Is Human, 22 December 2008 Author: brocksilvey from United States
*** This review may contain spoilers ***
"Doubt can be a bond as strong as fear." If ever there was a time in our country's recent history where that line carried the force of relevance, it's now.And though it's set in the early 1960s (roughly a year after the Kennedy assassination), there's no doubt that John Patrick Shanley's adaptation of his own Pulitzer-Prize winning stage play is a response to these dark times, when the only thing that seems to be uniting Americans is their collective insecurity and ever-weakening belief that things are going to get better.At the center of "Doubt" is the mystery of whether or not a priest (played by Philip Seymour Hoffman) is guilty of taking advantage of an altar boy. The priest's primary (and really sole) prosecutor is Sister Aloysius, the uber-stern and terrifying principal of the Catholic school that provides "Doubt" its setting. Watching Hoffman and Streep spar is like watching two professional tennis players at their best, and fans of expert movie acting should waste no time in seeing the sparks fly between these two. The movie purposely never clarifies the ambiguity of the charges -- is Hoffman's priest truly guilty of something, or is Sister Aloysius simply on a mad witch hunt? Streep's character is the most fascinating. From one perspective, she's a nearly maniacal harpie, intent on ruining a man's life and career for no clear reason. However, if her accusations are legitimate, she's a sort of hero, demanding justice from a male-dominated world that's willing to look the other way. Streep's performance is something fascinating to behold -- she can convey more with an arched eyebrow than another actor can with his entire face.Amy Adams gets the pivotal role of a young, innocent nun who first brings her suspicions about the priest to her superior, and then sees them become Frankenstein's monster. In many ways, Adams' character is us, the audience, placed in the position of having to come to a conclusion on our own when empirical evidence is lacking. Adams' role is the least showy, but she does much with it.And then there's Viola Davis, who, in five minutes of screen time, decimates the audience with some shocking conclusions of her own as the altar boy's mother. The insulated, hushed world of the Catholic Church is blown wide open by this struggling mother, who's seen more of the world than any of the priests and nuns sheltered behind the church's walls, and who puts the film's running themes of racial and gender inequality into harsh perspective.The central conflict in "Doubt" in many ways comes down to each individual's view of the world and his or her ability to accept the ambiguity of day to day living. There's a lot about the world we will never know and much about our futures we'll never be able to control. So what's better -- anticipating the worst and therefore being prepared when it comes; or believing in the best and running the risk of being disappointed when it fails to arise? The movie just poses this question -- it doesn't try to answer it. "Doubt" is not a fancy movie and will win no awards for its cinematic audacity. But in looking back at the movies of 2008, I imagine it will stand as one of the best-acted films of the year.Grade: A
83 out of 123 people found the following review useful: American Film's heavyweight acting champs square off., 29 December 2008 Author: st-shot from United States
There are no better actors working in American film today than Meryl Streep and Phillip Seymour Hoffman. Streep has been on top for some time now and Hoffman has an unmatched resume of fine performances over the past five years. Pairing off as adversaries in John Patrick Shanley's stage play brought to screen they parry and prod throughout with each landing hay makers along the way.Change is in the wind in 1964 for both the world and the Catholic Church (Second Vatican Council) as the country moves from conservatism to liberal thought. Sister Aloysius (Streep)is the principal of an inner city Catholic school who rules with an iron fist. Lamenting the loss of tradition (she thinks Frosty the Snowman is a song about worshiping false idols) she crosses swords with the popular and laid back Father Flynn who takes a more liberal view seeing the need to keep up with the times. His progressive ways gnaw at Sister Aloysius and she is soon suspecting Father Flynn of inappropriate relationship with altar boys even though she is without concrete proof.The scenes between Streep and Hoffman are riveting from start to finish. Both attempt at first to be civil with each other but eventually they end up at each others throat bullying and threatening. It is a titanic emotional struggle that makes for a gripping drama flawlessly acted. I'm no big fan of Streep, finding the adopted accents she employs in some of her films false and hollow, but as the self righteous Nunzilla her pugnacious style and inflection rates with her Sophie's Choice performance. Hoffman has his work cut out for him to keep up with the formidable legend but he holds his own with equal footing.In supporting roles Amy Adams is very effective as the unintended go between Sister James. Seized with doubt she like the audience mirrors our own misgivings as conflicted objective observers. Viola Davis as a troubled boy's mother has one lengthy powerful and painful scene that begins to tie loose ends together but offers no easy solution.Writer director John Patrick Shanley does an admirable job in keeping the plot nebulous with ambivalent scenes and peripheral characters that purposefully enhance the suspense. Scenes are tightly edited with sparse but effective dialog giving the film its steady pace. Other than some jarring oblique angle shots the camera compositions and set design provide a somber ambiance for the drama and an arena for the perfectly measured performances by two masters of the craft in this fight to the finish that remains absorbing from beginning to end.
88 out of 139 people found the following review useful: Avoids easy answers, 22 December 2008 Author: Howard Schumann from Vancouver, B.C.
According to a report commissioned by the U.S. Conference of Catholic Bishops, over four thousand clerics were accused of sexual abuse during the past fifty years. Although approximately thirty percent of these accusations were not investigated because they were unsubstantiated, given the proclivity of the bishops to cover up these incidents, the figures are widely suspected to be underestimated. What may be lost in the discussion of statistics about sexual abuse in the Catholic Church, however, is an understanding of the humanity of the people involved or the complexities of the circumstances.This factor is brought to light in Doubt, John Patrick Shanley's filmed version of his Tony Award and Pulitzer Prize winning stage play. Based on Shanley's personal experiences at Catholic School, the film explores not only the issue of possible sexual abuse but conservative versus progressive religious values and how far one can rely on suspicion in the absence of proof. Set in 1964, one year after the Kennedy assassination, Sister Aloysius Beauvier (Meryl Streep) is the dragon lady of St. Nicholas school in the Bronx. A strict taskmaster, she relishes her role as the upholder of tradition, rejecting such modern devices as ballpoint pens and the singing of secular songs at Christmas like Frosty the Snowman which she equates with pagan magic.Under Aloysius is the sweet and innocent Sister James (Amy Adams) whose easy going manner and charming personality is a welcome antidote to her authoritarian superior. The priest at St. Nicholas is Father Flynn (Philip Seymour Hoffman) who is the closest thing to a progressive at the school. He is open to new ideas and the changes initiated by Pope John XXIII, being much more open and relaxed with the children and engaging them in sports and conversation. In his sermons he brings the language of religion into the twentieth century, talking about the positive aspects of doubt and the injurious effects of gossip. "Doubt", he says, "can be a bond as powerful and sustaining as certainty. When you are lost, you are not alone." Resentful of the role of women in the Catholic Church and suspicious of Father Flynn, Sister Aloysius assigns Sister James to keep an eye peeled for anything unusual in his conduct. Her fears appear justified when Sister James reports that Father Flynn asked Donald Miller (Joseph Foster II), the school's only African-American student, to a private conference in the rectory and was seen hanging up the boys undershirt in his locker. Sister James also informs her that there was alcohol on the boy's breath and that the boy seemed upset when returning to his desk.Although no inappropriate behavior was witnessed, Sister Aloysius suspects wrongdoing and summons the priest to her office on the pretext of discussing the Christmas pageant. She accuses the priest of misconduct with the altar boy who denies that he gave altar wine to the boy or that anything unusual happened. The drama takes more twists and turns, especially when Donald's mother (Viola Davis) raises Aloysius' eyebrows by suggesting that, in spite of the allegations, the boy, who is due to enter high school in a few months, may be better off in the hands of the priest than having to face his intolerant and abusive father.Doubt avoids easy answers and challenges us to view inflammatory issues from a broader perspective, embracing the essential mystery of human behavior. The acting in the film is uniformly brilliant. Streep is mesmerizing, even if at times more theatrical than may be necessary for the character. Philip Seymour Hoffman's performance is more restrained and draws our sympathy with his broader view of church doctrine and display of love and compassion, although his demeanor at the end tantalizingly suggests remorse.What may be the most noteworthy performance, however, is that of Viola Davis whose dialogue with Aloysius is one of the dramatic high points of the film. The issue of whether Father Flynn acted as a friend and mentor to the boy or a sexual partner is ultimately left to the viewer to resolve, though what is beyond doubt is that absolute certainty without considering other points of view is a dead end for all involved.
82 out of 130 people found the following review useful: interesting theme only sporadically well executed, 5 January 2009 Author: Roland E. Zwick (magneteach@aol.com) from United States
Strong performances are the saving grace of "Doubt," an otherwise uneven, overly glib tale of possible sexual abuse in one New York City parish circa 1964.Sister Aloysius is a tradition-bound nun who goes through life utterly untroubled by uncertainty or doubt, running her convent and grade school with unyielding self-righteousness and the iron fist of unchallenged authority. Sister Aloysius doesn't take any more kindly to the accoutrements of the modern world - she has banned all ballpoint pens from the premises and decries "Frosty the Snowman" as a celebration of pagan magic - than she does to the "liberalizing" effect Vatican II has had on the Church she views as the last bastion of morality in an increasingly permissive and immoral world. This puts her in direct conflict with Father Flynn, a reform-minded, man-of-the-people priest who is more concerned with his parishioners' needs than with church ritual per se - yet whom Sister Aloysius has reason to suspect might be a pedophile. Or is she simply targeting the man and seeing what she wants to see because his view of the Church is so at odds with her own? The third main character, Sister James, is a perpetually upbeat but generally naïve novice who becomes more than a disinterested bystander in the war-of-wills that erupts between her two equally hardnosed superiors.In adapting his play to the screen, writer/director John Patrick Shanley hits on some intriguing themes revolving around certainty vs. doubt and traditionalism vs. progressivism, but the movie isn't always as intellectually honest and convincing as one might wish it to be, especially when Shanley indulges in such hokey effects as the winter wind batting against the windows or well-orchestrated thunder bolts crashing overhead at "meaningful" moments in the picture. Similarly, the reactions the characters have to one another and the situation they're involved in don't always ring true given the less enlightened time period in which the story takes place. And the final "transformative" moment comes upon us with such abruptness and with so little preparation that it quite literally rings down the curtain on the entire enterprise.Yet, despite all these flaws, "Doubt" periodically rises to the occasion and does justice to the complexity of its subject matter. This is particularly the case in a searing scene between Sister Aloysius and the mother of one of the boys who may have fallen victim to Father Flynn's inappropriate conduct, a scene that catches us completely off-guard with its sheer unexpectedness and its paradigm-shifting effect on the story.Moreover, the performances are uniformly excellent, starting with Meryl Streep who brings a surprising amount of humor and even warmth to a character who is, for all intents and purposes, cut off from her emotions by her dogmatically rigid nature. Phillip Seymour Hoffman effectively keeps us guessing as to the truth about his character, never tipping his hand one way or the other as to what is taking place in the depths of his soul. Amy Adams makes a compelling stand-in for those of us in the audience who are trying to reserve judgment on these two characters before all the facts are revealed. Special note must also be taken of Viola Davis, superb in her brief but unforgettable appearance as the mother who delivers an unsettling response to news that her son may have been the victim of a sexual predator.The movie seems to suggest that one can never have one hundred percent certitude about anything in this life and that actions must often be taken even when all the "facts" in a particular case can never be fully known. Yet, what happens when such an action could result in the destruction of another person's livelihood and reputation? It's an interesting theme that is only sporadically well addressed by "Doubt," but the food-for-thought that the movie provides makes it worth checking out anyway.
60 out of 104 people found the following review useful: New genre - the moral thriller, 2 February 2009 Author: jsorenson777 from Japan
Normally we give too much credit to actors. They often work for short periods and force myriad takes. Directors manipulate and cajole them. Then the filmmakers spend months choosing the best shots, carving them and stringing them together to make the story (and the long-gone actors) look good."Doubt" is an exception, only in that the actors are especially marvelous. The many close-ups and the length of the shots attest to the trust John Patrick Shanley puts in them. Streep and Hoffman are superb. Adams and Davis are remarkable as well.Still the most credit for this phenomenal effort must go to Shanley.What a fascinating story, with layers and springbacks that will leave you thinking and rethinking.Thank you very much to all involved with this fine film.
22 out of 30 people found the following review useful: Thrilling, thoughtful, intriguing. One of the best films of 2008, 12 April 2009 Author: MovieDude1893 (moviedude1893@gmail.com) from Illinios, America
Doubt {dir. John Patrick Shanley} (****/****)Although it includes some heavy themes, Doubt, is one of the most entertaining and involving films to come along in quite sometime. Rarely have my heart and mind been so engaged in a film simultaneously. At its heart, Doubt remains the stage play upon which it is based, about a priest who is accused of having an inappropriate relationship with a young boy. The priest is played by Phillip Seymour Hoffman, and the nun investigating (Sister Aloysius, great name) the situation is played by Meryl Streep, the best living actress and the best actress of the year. The language used in the film treats the situation very carefully and the confrontations between the characters crackle with well- written intensity. The film's central theme is indeed the title: Doubt. As an audience, we are left to our own devices in judging Father Flynn's relationship to the young boy. This uncertainty is a rare and valuable thing in film today. Great performances, wonderful writing and tough themes.
42 out of 70 people found the following review useful: A powerhouse performance!!!, 11 February 2009 Author: tiger jack (warthogjump@hotmail.com) from Australia
Never have I spent so much time analyzing and discussing such a wonderful piece of work. I thought that No Country for Old Men, Magnolia and Pulp Fiction were movies which I spent the most time discussing various themes and aspects of, both by myself and with others.Now, Doubt has also entered the picture. By analyzing the words used,the actions portrayed, and the emotions felt by the characters, different people come to different conclusions about what really happened behind the scenes of this movie.The truth is, nobody knows, but the amount of evidence portrayed for one view is almost, or equally, the amount of the other view. This is the kind of movie in which students should be working on because you could have infinite (friendly) debates about it.However, in my opinion, this phenomenal work is owed partly to the writer(s) and producer(s), but mostly to the actors. The acting in this movie is superb, and that merely describes it. All four Oscar nominated actors deserved them. Meryl Streep was outstanding as the haunting Sister who was slowly beginning to 'step away from God' due to her methods of attempting to discover the truth. Viola Davis exemplified that she only requires about 12 minutes of screen time in order to get nominated for an Academy Award.Amy Adams, well, I really enjoyed her role and the way she acted it. I think Adams was chosen for this role due to her innocence. When I looked at her, I saw the most innocent person ever, but in addition, she is also very beautiful, in a cute way. (I think I had to add the 'cute' because this is something we usually use to describe children, who are innocent, Adams is a young lady who also appeared very innocent, which is why I thought the 'cute' was necessary).To conclude with Hoffman's character: WOW! The best in this movie, guaranteed. His final 'showdown' with Streep really reinforces his extreme acting capability. Hoffman easily stole the show in this movie and due to this role, I have to say, he poses as the greatest threat to the deceased Heath Ledger. The way Hoffman expresses his emotions, in not only this movie, but every movie, is better than any other actor. For some reason, no matter what his role, I always have that feeling of sympathy for his character. His eyes, the way he just looks at someone and says something just runs a chill down my spine. His eyebrows, the way they just light up when he is changing his tone, everyone does this, every actor does this, but Hoffman just has a natural ability to express his emotions the best!!! I'm going to give this flick a 10 and make room for it in my personal top list of movies. The script, the acting and especially the post discussion in this movie is all worth it, and if I did not give it a 10, I would have to ask myself: "What more could I want?"
160 out of 309 people found the following review useful: Entertaining Drama In One Single Note, 24 November 2008 Author: arichmondfwc from United States
Let me start by saying that I wasn't bored for one second and that it is always fascinating to see great actors chewing the scenery. Meryl Streep is one of my heroes she will always be be here something happened. Her performance is devoid of highs and/or lows. She goes through it in second gear. I had hoped for a performance of the Louise Fletcher as Nurse Ratchet with a pleasant almost benign exterior but a monstrous center and Philip Seymour Hoffman, another great, doesn't project any kind of sexual vibe so the sexual allegations may work on a stage play but not on the screen. The part needed a John Garfield. On top of that, there is something missing on the structure of the story. We're taken through two acts but the third act is missing. I didn't believe in that ending it felt to come out of left field. So yes, I was entertained but dissatisfied.
26 out of 42 people found the following review useful: The Power Of Doubt, 20 March 2009 Author: Senyales from Fraggle Rock
'Doubt' has turned out to be quite a fascinating puzzle. The story is pretty much told through dialogue rather than portrayal of events. Shanley's overwhelming screenplay is so effective and the element of mystery is carried out so strongly that even the viewer is left doubting the actions of the priest and the motives of the head nun (were her accusations legitimate or was it all an intent to ruin the priest). His incredible direction takes us through the psyche of the four principle characters.Needless to say, the outstanding performances are just the necessary requirements that Shanley has successfully met. After all, who could ask for a better cast than Meryl Streep, Philip Seymour Hoffman, Amy Adams and Viola Davis? All these actors display some of the best acting of their career. It is both the dialogue delivery and the non-verbal gestures that strengthens the doubts in the viewers mind and makes the characters nonetheless more convincing.The slightly washed-out colours give the look of the 60s but also adds to the mysterious atmosphere. 'Doubt' is a very thought-provoking film. It has one questioning. Should the nun have reacted or should she have waited for evidence? But what if it was already too late for evidence? What has doubt done to them? It has them questioning themselves constantly. It has stolen their sleep. We accept that it is human to doubt but what does doubt do to us? What kind of power does it hold above us? How do we react on it? When should we react on it? The director beautifully manages to convey and provoke this without appearing pretentious or preachy.
31 out of 54 people found the following review useful: Free to interpretation of each who sits down to observe., 28 March 2009 Author: Jamie Ward from United Kingdom
Doubt, as it is most commonly known in its many manifestations and forms, is often antagonised as a weakness, or a fault in virtue. Yet, somewhat dubiously overlooked is its antithetic counterpart who comes in the form of belief, faith, conviction, or unwavering assertion. Indeed, how far will a person tread down a road guided only by their intuition and trust in faith alone? These questions which in turn reflect and pave way for many of Doubt's most potent and engaging moments of narrative, are of course brought up in the course of the adapted play's screenplay, but they are not answered—at least, not directly.In fact, rather ironically, doubt is a feature that places the pieces of the moral puzzle in question upright onto the table, and then leaves them there; dangling and free to interpretation of each who sits down to observe. This somewhat open-ended, vague and subjective form of cinematic expression is something that is rarely seen outside of art houses and the most daring of film-makers palettes. And yet director/writer and playwright John Patrick Shanley implements the risky move here with ease and grace. Yet the real flavour, despite having plenty of potency within these realms, lies outside of debating, suspicions and tests of virtue—first and foremost, doubt is a study of human characters, and how they can often clash as a result of their diversities in opinions and temperaments.The majority of Doubt's story then is central to three catalysts for the script's themes to manifest and evolve. These three personas come in the form of a reserved, progressively adapted priest by the name of Brendan Flynn (Philip Seymour Hoffman); a young, bright-eyed newcomer nun named Sister James (Amy Adams); and a stern, assertive and conniving traditionalist nun named Aloysius Beauvier (Meryl Streep). While it would be of no fault of anyone to assume that the themes I have mentioned thus far have everything and all to do with the question of religious faith only, this tangent however relevant and vital to the backdrop of the story, nevertheless serves as just that—a backdrop. Instead Doubt takes its intellectual conflict between heart and reason in the form of a cloudy event involving father Flynn and a young alter-boy who takes a certain liking to the father-like-figure of the priest. After hearing a notably unsure and reserved report from Sister James, Sister Beauvier asserts that she knows what is going on with Flynn, and that she's going to set everything straight.But what then, is her evidence? Not much. In fact, aside from word of mouth (gossip, you could decree) from a young, naïve woman not sure even of her own words, Beauvier has nothing but her suspicion and conviction to go on. From here on in then, it is the sole intent of the director to address the themes of doubt itself, and its oppressor, being the Absolute Truth, or so it is perceived by those who take heed of its obvious presence. How Shanley delivers his story is nothing short of engrossing however; the whole structure of the play sees characters sway from one end of the moral spectrum to the other—indeed, it's startling as a viewer to find such palpitating changes of heart regarding characters.Sure enough, the whole affair comes across as overtly manipulative because of the amount of ambiguity and twists and turns that Shanley throws out there, but taken in context of the movie's themes of mistrust, unfaltering conviction and the inability for compassionate re-evaluation, Doubt reflects its ideas in the head of its viewer without blatantly pointing out such shifts; the emotional tugs are indeed obvious, but the strings pulling them, are not.Yet for all intents and purposes, Doubt exists as a fine testament not only to Shanley's ability as a film-maker, but also his ability to direct his cast, and to allow them to envelop the characters from within his emotionally contorted monster. Taking forefront for obvious reasons here are both Hoffman and Streep who deliver performances just as convincing and engaging as their characters are written. Hoffman himself has seen a vast array of roles (specifically from 2008) which have made him a figure to watch from here on in, but Streep, despite her accolades from previous years, has found herself in some lacklustre roles as of late. Doubt then, with its rich, multi-dimensional characters and interpersonal relations, finds Streep back at home, embodying her persona with vigour and a conviction that always finds the audience clamouring at her feet, but not at the expense of maintaining their attention.It's a somewhat humble, unassuming feature as a whole that will be easily misinterpreted by a few, but only a few. Instead, those looking for intelligent, layered and tangible character drama laced with plenty of thematic conjecture will find much to enjoy here. Of course, there is every reason to believe that the feature's lack of resolution or clear, objective stances will disgruntle those dimmed into expectations of cathartic, solidified resolves—but this in turn is the point of Doubt. Not only does it offer up food for thought, intrigue the heart and question the nature of our own convictions we may hold dear, but it also echoes those themes through its unavoidably ambiguous and unknowing nature.One thing that certainly is clear here however, is that Doubt exists as a complex, significant feature, brimming with subdued, nuanced life and important statements beyond which most cinematic fare avoids in favour of comfortable, solidified answers; it's a bold statement, and an endlessly intriguing and engrossing one at that.- A review by Jamie Robert Ward (http://www.invocus.net)
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