Phonearl Good start, but then it gets ruined

Solidrariol Am I Missing Something?

HomeyTao For having a relatively low budget, the film's style and overall art direction are immensely impressive.

mraculeated The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

Leofwine_draca MEA MAXIMA CULPA, a documentary uncovering child abuse in the Catholic Church, holds few surprises; there can't be many people left on this planet who AREN'T aware of the Catholic Church's dark, secretive and controlling nature. Yet as it stands this is a harrowing piece of film-making, one that reaches into the darkest depths of human existence in its search for the truth.It begins with accounts of child abuse back in the '60s and just gets worse from there. Just when you think that Father Murphy, the man at the centre of these allegations, is the true villain of the piece, you find out there are even worse and more unsavoury characters: the ones who do everything in their power to hush it all up. Alex Gibney uncovers a sinister conspiracy that goes right to the highest echelons of power; forget the fantasy worlds of Dan Brown, this stuff is the real deal.Hardly an enjoyable watch, but then this is one of those documentaries that everyone should see to get an idea of how things are, no matter how cynical it makes us.

mail-608-383925 The movie is done very well for a documentary. If it were me doing it, I would have been much more hateful and promote a sense of outrage towards those who could/can do something about it yet choose to remain silent. However, the producers were wise, and presented facts (spoken by the victims themselves), letting you make up your own mind about what they said. I found this to be very effective.The monumental size of the damage done by the silent church cannot be put in words. To know about tens of thousands of abuses on children, be able to take action, and yet choose to remain silent, it is beyond my comprehension not only as a human being, but as a devout Christian.I hope that people will not be mad at the one person that the movie focused on (Lawrence Murphy). Our instinct is to try and take our anger on him, and make him pay for what he did. But we cannot do that - he is dead, and even if he were alive, there is nothing we can do to completely take out our rage against the incomprehensible acts that he did. However, what we can do is watch the movie, vote on it, ask others to watch it, and find ways to support those who are far better equipped than us to take action.

cruzincat I just saw this documentary today after hearing about it from my wife, who did not see the whole film. We watched it together. I have never been Catholic, while she had been for a short period while attending an all girls Catholic High School.What struck me most about the film was the reason that was given for Father Murphy's exit from St John's, for health reasons. Just this morning, Pope Benedict announced he was stepping down for health reasons. It makes me wonder if the release of this documentary had something to do with his decision. If he lives even half as long as Father Murphy did, after he left St John's, it would, in my opinion, give lie to that.This film needs to be seen by everyone in the world and let them make up their own minds. I do give a lot of credit to the Dubliners that have stopped attending Mass. The documentary stated that they were down to 4% of the Catholics still attending. Good for them!

MediaboyMusings After looking at the world of NHL pugilists in last year's outstanding The Last Gladiators, Mea Maxima Culpa: Silence In The House Of God finds director Alex Gibney returning to investigating abuses of power, a theme that has served him well in past efforts like Enron: The Smartest Guys In The Room and the Oscar-winning Taxi To The Dark Side. This disturbing exposé on the problem of child and youth sexual abuse in the Catholic Church focuses partly on the stories of five deaf men who are thought to be the first individuals to ever publicly protest abuses by clergy in the United States, after they were victimized by Father Lawrence Murphy at St. John's School for the Deaf in the suburbs of Milwaukee during the 60s and 70s. Gibney also takes a broader view of the subject by looking at other cases of clergy abuse (notably in Ireland) and the systematic cover-ups of these crimes by the Catholic Church's top officials, whose unofficial policy on the matter is to "deny, minimize, and blame", according to one journalist interviewed. "Mea Maxima Culpa's" Latin translation is "my most grievous fault".Although the five St. John's victims have been working for over three decades to call attention to the issue and seek justice for their suffering, their story gained traction after New York Times writer Laurie Goodstein wrote an article in 2010 about the Vatican's failure to defrock Murphy, despite the fact that they were presented with undeniable evidence of his crimes and received strong warnings from some American church officials. Murphy is believed to have molested over 200 boys at the boarding school from the 50s until 1974, when he was transferred to another parish. The Vatican was alerted of Murphy's behaviour in 1963 and did nothing. Actors Jamey Sheridan, Chris Cooper, Ethan Hawke, and John Slattery give voice to the victims, who use sign language with punctuated hand slaps to express the horrors they endured at the hand of Murphy and the shame that followed. Murphy's textbook predatory behaviour found him singling out what he perceived as the weaker students and further exploiting the fact that they faced an obvious barrier in communicating over the phone with their families. Three of the victims, including Terry Kohut, who sued the Catholic Church and named the current Pope in his lawsuit, were on hand for the world premiere TIFF screening I attended and gave their emotional reaction to it afterwards at the Q & A through a sign language interpreter. Just knowing that they were in the audience and reliving their pain while seeing the finished film for the first time added an extra significance and weight to the proceedings.The investigations resulting from the Kohut lawsuit ended up leading to the discovery of secret Vatican documents that detailed many instances of sexual abuse cover-ups that reach to the highest levels of the Catholic Church, with Popes John Paul II and Benedict XVI (then Cardinal Joseph Ratzinger) substantially implicated. In the years before being anointed Pope, Ratzinger oversaw a Vatican council that monitored sexual abuse cases in the Church, so his post-anointment claims of being unaware of most of what was occurring seem highly unlikely. How his and his predecessor's culpability and mishandling of these tragic cases hasn't been a much larger media story is difficult to understand.That aside, overall media coverage of child and youth sexual abuse in the Catholic Church has, sadly, become an all-too-familiar story that one almost becomes numb to. Gibney rises to the challenge of presenting a fresh take on a much-discussed important subject with this well-researched and powerful film. My only real negative about it are the re-enactments that Gibney employs, even if they are artfully composed and beautifully shot, using plenty of religious imagery. Re-enactments are a staple of Gibney's work (not to mention Errol Morris'), but the stories he tells are usually compelling enough and, in my opinion, the end results are slightly diminished with this gimmicky device that feels like an imagination crutch for the audience.