Word: cons
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Dates: during 2000-2009
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...still manages to make Augie unique and remarkably endearing. Thompson, on the other hand, challenges every notion of cuteness as he spews expletives and racial epithets with equal enthusiasm. Nonetheless, his character is surprisingly believable and ultimately winning. Perhaps most impressive of all is Jane Lynch as the ex-con director of the mentoring program. Lynch has played wacky before in films like “Best in Show,” but she pushes the bounds of sanity with her over-the-top humor, simultaneously making the audience laugh and cringe. Lynch steals the movie in just a handful...
...that often sentimental and melodramatic vein, its scale is modest and understated. Juliette needs a job. She also needs an apartment of her own. And perhaps (she hardly dares think about this), a man. But she's a marked woman. None of these goals are easy for an ex-con to attain. That's especially true of Juliette, who is obviously intelligent - in her former life, we learn, she was a highly respected doctor - but also inarticulate, unable to defend herself against a casually cold world...
Georgie Fruit is a middle-aged, sexually ambiguous, black, ex-con, former funk band front man—and a figment of the imagination of 34-year-old married father Kevin Barnes. Now, 11 years into the recording career of second-era Elephant 6 group Of Montreal, Barnes is still trying to find the right way to get out whatever the fuck is inside his head. But for anyone who’s been following the Kevin Barnes genre-bending, gender-bending bender, “Skeletal Lamping” will feel just about right, if a little bit disappointing...
...MOVIE I've Loved You So Long From The English Patient to Gosford Park, Kristin Scott Thomas has oozed aristocracy. In Philippe Claudel's French drama, she occupies a private palace of pain as an ex-con reuniting with her sister (Elsa Zylberstein). This fine rehab film has a long fuse and a potent payoff...
...entertaining—though in truth this may be due more to his mesmerizing gray wig than his actual performance. And when the buffoonery shtick is kept to manageable levels, even Pegg produces some amusement—particularly when trying to convince fellow partygoers that “Con Air” is the finest movie ever made. But these moments are only funny in a fleeting, peripheral way, and they lack the bite that a comedy with such satirical aspirations requires. Only one scene in the film felt truly comedic. Sidney sees the trailer for Sophie?...