Word: actorly
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Dates: during 1990-1999
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...seasons, Tim Foley '98 will make you want to cry. Those who are familiar with the play or its movie adaptation might be worried through the first act that Foley is not as great an actor as More was a man. But as the tension and action build into the second act, Foley proves himself to be abundantly worthy. His performance rises with the pressure level--the sincerity and passion of More are palpable. By the final scene, he is the martyr and the man; he is, quite simply, outstanding...
That, of course, is Norton's greatest feat as an actor. He's a juggernaut of emotional range and complexity with a porcelain visage. He'll kill flies, oh yes. And he'll also embarrass any actor onscreen with him who isn't as dexterous or willing to get their hands dirty. Norton, thank God, will probably never be in a movie like You've Got Mail because his intensity would just liquify all the fluff. He's like the Miranda Richardson of American cinema--too good for 99 percent of it, so we just wait patiently until he finds...
...problem, unfortunately, is that Fincher completely underestimates Edward Norton as an actor. If Fight Club is to be a successful satire, the audience can't fall in love with Norton's narrator. We shouldn't see him as the righteous crusader, the man who can do no wrong. Because when we take every punch Norton takes, we lose our sense of detachment. We lose that ironic distance--the distance that makes a movie like American Beauty such a compelling psychological portrait. There's no seeing the forest from the trees here because of Norton's intensity and ability to elicit...
...presidential candidate Warren "Bulworth" Beatty, while sometimes-touted political aspirants Oprah Winfrey and Cybill Shepard garner just 16 percent and 6 percent, respectively. As Bill Bradley and, earlier, Ronald Reagan have proved, you first have to make voters think of you as a politician before they'll take an actor or a sportsman seriously as a potential tenant of the White House...
Korine, who wrote the scabrous Kids, then made on his own the widely praised and reviled Gummo, had already planned his new film--the largely improvised story of a schizophrenic (Scottish actor Ewen Bremner), his bullying dad (Werner Herzog) and pregnant sister (Chloe Sevigny)--when Von Trier & Co. suggested he make it under Dogme strictures. "I liked the idea of it being a rescue action from the elevation of cosmetics," he says, "the idea of not hiding behind the trickery." Bremner found that the stripped-down system let him focus on his craft: "I don't have to reserve...