Word: filmã
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Unfortunately, these small surprises are negated by a shoddily disguised “surprise” villain revelation. This character’s villainy is painstakingly obvious, based on the film??s previews and the common sense that this particular actor wasn’t hired to stand around looking frumpy...
Frustratingly, the film??s dialogue lacks the signature themes that define Mamet’s best work. Gone are the crackling wit of State and Main, the sublime lessons in human nature of Glengarry Glen Ross, and the warped intelligence of The Spanish Prisoner. Also missing, though far less missed, is Rebecca Pigeon, Mamet’s wife and a fixture of his films, who often stands out as the worst element of any ensemble...
...actual performance. Nevertheless, the Academy will likely see beyond the cosmetic alterations to reward Theron’s breakthrough work, which painstakingly recreates the intense discomfort of a woman desperate to find a reason not to shoot herself at any given moment. At the film??s core is Wuornos’ tumultuous relationship with flippant lover Selby Wall (Christina Ricci). Though Jenkins fails to offer a believable relationship between these two individuals and Ricci sits through an unnaturally amateurish performance, Monster is ultimately redeemed by Theron’s resonant performance...
...suddenly irritable cast and crew. Just the same, if Carrey’s Joel Barish is easily distinguishable from Cage’s Kaufman or the writer doodling now as the more talkative Gondry chats on, Sunshine’s author is never far from the new film??s margins...
Speaking of the film??s “counterintuitive” title—a bright quotation from Alexander Pope with only overtones of Sunshine’s warily-relieved darkness—Kaufman says he chose it because it’s “long and hard to remember...