Word: caan
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...kept calling me up. And I was like, "Why do you want to do the movie so badly?" And it turns out she had issues with her stepfather; I think what made her really connect to is was the scene where she goes to see James Caan. After saying fuck you the whole movie, she says, I'm sorry I've been horrible to you but please help Wahlberg. And I think that was the scene that got her hooked on the movie. She wanted to do it so badly. There was something she did which unfortunately wound...
...York City's subway car suppliers, The Yards is Gray's second major film, and it will only add to his reputation as an intelligent filmmaker. The cast of Gray's first major film, Little Odessa, included Vanessa Redgrave. This time around he's got names like James Caan, Faye Dunaway, Charlize Theron and Joaquin Phoenix to work with, in addition to Wahlberg...
...without doing much more than making slight adjustments to the muscles on his face. It seems silly to read about, but it works. Much the same thing goes for the rest of the cast. Charlize Theron, ever the chameleon, plays the languid, dark-haired Erika; Faye Dunaway and James Caan are her mother and stepfather. Their acting efforts are helped immensely by Gray's direction. Gray paints every scene in order to give his crew a better idea of his visual style, and he has a definite vision of what the film should be all about, both in terms...
...promise you a day of reckoning that you will not live long enough to never forget," says the aged tough guy (James Caan) to two punks (Ryan Phillippe and Benicio Del Toro). They've kidnapped a young woman (Juliette Lewis) pregnant with a baby she is carrying for the sleazy rich man who employs Caan as enforcer. Got it? McQuarrie, who managed suspense quite smartly in his script for The Usual Suspects, here devises a two-hour gunfight interrupted by questions of paternity. But he's not so hot as a director, so what aims at being terrifying is just...
...along with Michael's bemused unflappability, his weird British conviction that somehow he will muddle through to a happy ending, that good-natured spirit carries one over some of the logical lacunae of the script by Adam Scheinman and Robert Kuhn. But not quite past the presence of Caan. It was only 27 years ago that his crazy volatility ignited The Godfather. Now he's almost beamish as a wary fixer. He's still funny, but his new characterization, like the success of The Sopranos and Analyze This, reminds us how quickly we have converted palpable menace to pure ethnic...