Word: danielsã
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...acting is similarly excellent. DiCaprio, who continues to grow as an actor under Scorsese’s tutelage, turns in one of his more powerful performances. Though his character may seem to fall into the standard trope of a hardened hero plauged by a traumatic past, DiCaprio effectively portrays Daniels?? spiraling instability as his perception of the world grows more uncertain. Meanwhile, Kingsley and the rest of the hospital staff exude a menacing solidarity that complements the film’s sinister audiovisual elements perfectly...
Attempts at the type of overarching themes that usually elevate Scorsese’s films are disappointingly cursory. Daniels?? violent tendencies lead only to a brief meditation—“God loves violence…it’s what we are,” declares the hospital Warden, musing on humanity—a mere shadow of Jake LaMotta’s trials in “Raging Bull.” Scorsese dabbles with a few bigger ideas, but never latches onto something really worth saying...
...couple’s sons Walt and Frank (played by Jesse Eisenberg and Owen Kline respectively), is devastating. The film’s tagline—“Joint custody blows”—succinctly summarizes their feelings about the new family arrangement. Jeff Daniels?? performance demands special recognition: he inhabits his character so completely that the word “acting” cannot rightly be used to describe his efforts—he simply is Bernard Berkman. His work in this film is in an entirely different league from his unfortunately career-defining...
...strategic game progresses, terms such as ANATHEMA, ETHANOL and the mysterious QUAI grace the table. TINTED becomes TRIDENT, BOOST becomes ROBOTS, and Eisenkraft becomes more upset by Daniels?? lead. After his opponent makes a clever move and then an insincere apology for it, Eisenkraft retorts, “That’s okay, I slept with your sister.” Daniels scores again, to which Eisenkraft adds, “And your brother...
...star may interpret a lyric differently from a classic Broadway belter or a London lilter. It matters that Brent Spiner (Star Trek’s Data) is a vocally superior John Adams in 1776, but somehow his performance in the revival matches the wit or intensity of William Daniels?? original portrayal. It matters that in the second Broadway revival of Cabaret, Alan Cumming delivers the shocking final line of “If You Could See Her” as a harsh whisper, whereas Joel Grey sings it in the original production...
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