Word: barrooms
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...begun with a demonization of others. Buchanan has a genius for techniques that bundle his enemies together and subtly satanize them. His litany of Jewish villain names (ticking off "Goldman, Sachs...Greenspan" as if they were the Elders of Zion) is slyly anti-Semitic; he uses a tone of barroom xenophobia on "Jose," his multipurpose Mexican bashee. He says, "Listen, Mr. Hashimoto [the Japanese Prime Minister]," as if he meant "Mr. Tojo." Buchanan is almost as brilliant at populist bullying as George Wallace was in the days when the Alabaman ranted at "pointy-headed intellectuals who can't park their...
...most funked out. They are passionately committed to the wrong women (as is the case with Matt Dillon's Tommy), unable to commit to the right one until it's too late (Michael Rapaport's Paul), or endlessly considering their options (Timothy Hutton's Willie). The latter, a barroom pianist in New York City, has come home to think over his relationship with a high-powered lawyer. Before making the right decision, he flirts with another visitor (Uma Thurman) and, most interestingly, with the 13-year-old who lives next door (Natalie Portman...
...movie, written by Leigh's mother Barbara Turner and directed by Ulu Grosbard, is a two-hander about the edgy relationship of show-biz sibs. Georgia (Mare Winningham) sings pop; she's famous and sensible, a caring mom and sister. Sadie (Leigh) sings barroom rock and thinks the way to be Janis Joplin is to do drugs, embarrass herself onstage and lurch toward an early, ugly death. At the mike, in the van, at the airport, she goes self-destructively, picturesquely nuts...
Although the performance of Jennifer Jason Leigh as a barroom singer has won the sort of critical raves that fuel studio campaigns for an Oscar nomination, TIME's Richard Corliss begs to differ: "To praise Leigh in this small, frail film is to mistake big acting for good acting, and shriek for soul." A daring, often endearing actress, Leigh virtually patented the role of neurotic little-girl-lost in such cable-ready classics as "Sister, Sister" and "Miami Blues". Lately, though, strenuous mannerism has clotted her work: bizarre accents in "The Hudsucker Proxy" and "Mrs. Parker and the Vicious Circle...
...effect is sobering, but in terms of the movie's agenda, it also appears contradictory. If the movie targets Maori who actually live like this, how are they to dispense with the message that barroom justice is good while internalizing the message that violence breeds violence, domestic or otherwise...