There's a fine line between incredibly sweet and incredibly creepy. Sadly for Christian Grey that line is a sad and distant memory because as the film rolls on he exposes himself as one of the most boundary-crossing sinister weirdos on the face of the planet. Putting aside his opening lines of dialogue where he comes across between a super-villain and a first year art history student, he then begins a steady campaign of invading some young girl's personal life. First he magically decides to buy his clamps and ties at the DIY store Ana works at, before tracing her phone number to a bar where he turns up uninvited to a take heavily drunk Ana back to his penthouse. Then there's the gifts he showers her with, the lifestyle he introduces her to, all to buy her cooperation in what can only be described as a manipulative and abusive relationship. He alleges that he's had 15 such relationships in the past, and how none of those women have ran screaming to the nearest police station is probably the biggest plot hole in the entire film - and that's saying something.
WhatCulture's Managing Editor and Chief Reporter | Previously seen in Vice, Esquire, FourFourTwo, Sabotage Times, Loaded, The Set Pieces, and Mundial Magazine
