Word: hooting
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...Elias Merhige's atmospheric drama imagines that Max Schreck, the actor who played the Dracula-like Count Orlock in the 1922 classic Nosferatu, really was a vampire. John Malkovich parades in fine, fey style as German director F.W. Murnau, and Dafoe, unrecognizable in Schreck's rodentoid pallor, is a hoot and a horror as the ultimate Method actor...
...American heart has long since outgrown the old simplisms in which the parties tend to think, in which the lefties and righties of talk radio and television tend to bray and hoot. Clinton instinctively grasps the truth of the new American sympathies. One thinker who understands them well is Alan Wolfe, a sociologist who has done admirable research in the cross-grained, complex but essentially tolerant American attitudes toward gay rights, abortion and other signature issues...
...with the U.S.'s uncanny taste for inspirational improbability might be fed up with Men of Honor. But that may not be so. There's something refreshing about its utterly unembarrassed embrace of the familiar. The director, George Tillman Jr., either doesn't notice or doesn't give a hoot about the way Scott Marshall Smith's script piles up cliches. He just keeps driving his movie right on through them. What's true of him is true of his actors too. De Niro pitches his performance on the edge of psychopathy, where menace and comedy very effectively coexist...
...American heart has long since outgrown the old simplisms in which the parties tend to think, in which the lefties and righties of talk radio and television tend to bray and hoot. Bill Clinton instinctively grasps the truth of the new American sympathies. One thinker who understands them perfectly is Alan Wolfe, a sociologist who has done admirable research in the cross-grained, complex American attitudes toward gay rights, abortion and other signature issues of the millennium...
...with the U.S.'s uncanny taste for inspirational improbability might be fed up with "Men of Honor." But that may not be so. There's something refreshing about its utterly unembarrassed embrace of the familiar. The director, George Tillman Jr., either doesn't notice or doesn't give a hoot about the way Scott Marshall Smith's script piles up clichés. He just keeps driving his movie right on through them. What's true of him is true of his actors too. De Niro pitches his performance on the edge of psychopathy, where menace and comedy very effectively...