Word: faced
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...estate residents in their cramped dwellings, albeit in black and white. It is hard to see what, if anything, Wolf does differently. His images are not the result of an intimate rapport between photographer and subject, but of an almost unbridgeable distance: the sitters are showing their best face to a foreign visitor, with many of them smiling for the camera. The result is an odd, strangely uncomfortable dynamic, but one, in the end, that both defines and underlines Wolf's work...
...making melodrama seem plausible just because he's doing it. And always in Denzel Washington's screen demeanor is the sense of power withheld, of anger internalized. He doesn't shout or strut, doesn't need to. Why raise your voice when a good stare from that handsome, solemn face will quiet any adversary? That is the mark of cinema charisma: an assurance that articulates itself through sheer presence. A hero has it; so does...
...reduce to rubble the rural house Eli has holed up in with a grizzled couple (Brit theatrical giants Michael Gambon and Frances de la Tour) and Solara - none of these armies can bring him down. One dastard gets it in the groin; another, through the neck. In a tense face-off, Carnegie's main henchman, Redridge (Ray Stevenson), has a gun on the unarmed Eli, who goes eye to eye with him and disarms him with a glance...
...enough worry that 13 of 15 Atlantic states have banned from their waters the fish-oil company that catches 90% of the country's menhaden. The Houston-based Omega Protein insists the menhaden population is healthy. But while the Atlantic States Marine Fisheries Commission says menhaden don't yet face overfishing on a coastal scale, it is limiting the industrial harvest of the fish in Chesapeake Bay, hard hit of late by dead zones. "The devastation of the marine environment has to be taken into account," says H. Bruce Franklin, a professor of American studies at Rutgers University...
...other British films, notably as Emmeline the nubile castaway (the role that brought stardom to Brooke Shields three decades later) in Frank Launder's The Blue Lagoon, Simmons went to Hollywood and stayed there. Her first of four movies for Hughes was her best: Otto Preminger's Angel Face (1952), essentially a feature-length rendition of the Ophelia mad scene. As Diane, a young Englishwoman in Southern California, she's in hysterics when Mitchum first sees her (they exchange hard slaps); later she toys portentously with chess pieces and glowers at us out of a fetal position...