Word: miscasting
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Even when one looks past the baffling design elements of ASP’s “Midsummer,” there is little to redeem the production. Evett’s staging is functional, but it consistently lacks energy. Furthermore, several actors are egregiously miscast, such as Dayenne Byron Walters, who feels stiflingly rigid playing the elderly Egeus in an inexplicable and unfounded instance of cross-gender casting...
...their lackluster pairing is too implausible to substantiate that claim. While Claire and Ray’s love story spans five years and three continents, their few romantic scenes together fizzle. Both Owen and Roberts are sex icons in their own right, even if the latter seems slightly miscast as a young, seductive globetrotter. But if the audience is to believe that the goal of all their missions is really to overcome the complications of life undercover that keep Owens’ sexy British accent and Roberts’ ample post-pregnancy cleavage apart, then their on-screen chemistry...
...stars' faces are landscapes too: not Zellweger's - with her strange, puffy planes, she is woefully miscast in the role of a beguiling woman - but Harris', Irons' and especially Mortensen's. They're as weathered and craggily handsome as any butte in Monument Valley. And however loquacious Virgil and Everett may occasionally be, their natural mode is silence. Any movie cowboy or gunman spends his time sitting and riding and drinking and musing and shooting - activities that don't demand talk. Our heroes are respecters of each other's privacy; they figure no man is likely to reveal...
...film directed by Clint? (No surnames needed.) Then they will be there, if only to spark a new tabloid nickname: Clangelina. (And Brad came too.) Actually, Eastwood's movie, Changeling, is an honorable, fact-based drama about police corruption and child abuse in 1920s Los Angeles, with Jolie somewhat miscast as an ordinary single mom whose son is kidnapped, then found, only for her to discover that another boy claiming to be the son has returned in his place. Eastwood has brought five films to Cannes in the past quarter of a century, and for the fifth time his movie...
...them), the 1942 The Affairs of Martha is an all-too-frantic suburban comedy. Reunion in France, which opened within a month of Casablanca, has a similar plot - Paris society belle Joan Crawford is tempted to leave her Resistance-hero husband for American airman John Wayne - but it's miscast, risibly implausible, your basic botch. In The Canterville Ghost (1944), Dassin's job was to referee between two shameless scene-stealers: Charles Laughton and the seven-year-old Margaret O'Brien. If there's a magic moment in any of these features, it might be the climax to Two Smart...