Word: mametã
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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...
...unnecessary to excessively condemn Spartan, which will provide any reasonably discerning filmgoer with an enjoyable viewing experience. Nevertheless, it will leave many of Mamet??€™s fans frustrated that this great writer has squandered such an enormous talent and resigned himself to turning out moderately entertaining mediocrity...
...impulse to try something new with this play is understandable. Oleanna is Mamet??€™s most topical play—it arose on the heels of the Clarence Thomas confirmation hearings—and it often seems less sharp than some of his other works. Gabriele’s interpretation has the benefit of making the female student less a victim than she seems in most productions, but it is at the expense of making her largely unsympathetic and rendering the professor with virtually no variation throughout the evening...
...even with Hackman’s nuanced and convincing acting, there is never a sense of genuine emotion. All these conflicts serve as mere tools that keep the formulaic plot going and allow Mamet to serve up a barrage of his distinctive but often pointless and perfunctory quips. Though Mamet??€™s dialogue does provide nice pacing and a unique touch to the film, it often distracts the actors and makes for an artificial atmosphere...
...depth of his nostalgia recall Borscht Belt, the razor-sharp timing and perfect phrasing are pure Mamet. Jay’s skills at handling such material as well as their presence in the show attest both to the basis for the two men’s friendship and to Mamet??€™s directorial influence on the evening...