Word: motherly
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...young Manny plotted his trip in secret. Dionisia Pacquiao is slender and slight, like her son, and has his easy smile. "Manny has a strong mind and a strong body," she says. "Just like his mother. Except I am stronger." But she was heartbroken when he left for Manila. Dionisia recalls receiving a letter from him "saying how sorry he was [for leaving home] ... I was very, very sad. But after a while, I accepted his destiny...
...Capitale, an old bank turned party space, just about where Chinatown starts in Manhattan. It is early June, and he is there to receive his second Fighter of the Year award from The Ring magazine. Even as old palookas cuss up a storm, he prays before his meal. His mother says he was always "very disciplined and God-fearing" - taking after her, of course. Her front garden features a coral-lined altar to the Virgin Mary, and an entire shelf in her living room is filled with icons and bric-a-brac in honor of Christ's mother. Dionisia wanted...
...home, we see too many cats to count, but no evidence of that first child. Precious' mother Mary (Mo'Nique, an actress and comedian who had a role in Daniels' 2005 directorial debut, Shadowboxer), lolls about in a recliner, shouting orders and insults at her daughter when she's not smacking her around: if Precious isn't going to be in school, she'd better get herself to the welfare office and start bringing home her own check. Mary is an unabashed abuser of that system, and she's terrifying - unbelievably awful yet completely believable. Mo'Nique should prepare...
...Bastard out of Carolina, with a cute little girl suffering while we rise up in indignation. The movie allows us moments of judging Precious - as Mrs. Lichenstein does - and then begins to roll out a series of nightmares that last the whole day long: rape, incest and a mother so lacking in human decency that she not only aided in a father's lust for a child but also considered that child as a witting rival...
...pessimistic narrator in scene three (“Faith in Ourselves”); as the disparaging art critic in “Untitled”; as the skeptical interrogator in scene 15 (“The Statement”); and as the seemingly sweet but aggressively homophobic, racist young mother in scene 10 (“Kinda Funny”). Rebecca Feinberg ’13 elicits sympathy as Anne, the lonely cigarette stealer, while Margaret Kerr ’13 captures Anne in “The Camera Loves You” not in a dynamic display of violent...