Word: oldman
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...into this abrasive parable of sexual frustration comes Martin (Gary Oldman), an Englishman who feels like an orphan, an alien in America -- the man who fell to earth, into a lonely woman's dream. She needs a son, so he'll be one, a cross between Dennis the Menace and Oedipus. He will play on her longing and guilt, in baby talk that moves her: "You never cuddled me, did you? . . . And you never let me follow your finger along the line of nice big $ words ((like)) 'Once upon a time.' " He will relive what was never his, "my American...
...expect to find subtle performances in this surreal treat. Russell, the criminally beautiful slut-goddess of art-house movies, becomes shrill in the upper registers of emotion. And Oldman is so acutely the rotten kid that you may want to stand him in the corner. These are not heroes to cherish: they are tiny figures on a Blue Velvet landscape, bleating out their obsessions. But in their cries is the music of recognizable people with their defenses down and their lurid nightmares ascendant. In Track 29 every woman is a flower demanding to open, and every man is a little...
...film obliquely raises questions of art and society, but at its heart, Prick Up Your Ears is the story of two intriguing men and their problematic relations. The brilliant performances by Gary Oldman as the randy playwright and Alfred Molina as the whining Halliwell necessarily make the film, because Bennett and Frears have all but ignored the charged times in which the Orton story unfolded. Although painstaking detail masterfully recreates the setting of the story, the filmmakers have largely eschewed an attempt to depict the explosive social scene of 1960s London...
...Gary Oldman looks spookily like Joe, with that puckish smile that told the world, "You want me to get away with it." Vanessa Redgrave has, and deserves, many of the best lines as Orton's sardonic agent. Bennett's script is a mine of epigrams and a model of construction (except for a framing device that portrays Lahr as an Orton manque and his wife as a pathetic Ken doll). But the workmanlike style of Director Stephen Frears (My Beautiful Laundrette) emphasizes the drab and the obvious. Frears cannot match the script's sleek malice, so he gets his laughs...
Fred and Ginger they're not. On his best behavior, Sid Vicious (Gary Oldman) pukes for pleasure, throws darts at idlers and smashes his head against the concrete walls of propriety. Then he meets Nancy Spungen (Chloe Webb), a pug- faced groupie from a Philadelphia suburb, and starts living up to his name. As the defiantly incompetent bass player for the Sex Pistols, Sid became the working-class hero and elitists' toy of pre-Thatcher Britain. To the romanticizers of punk anarchy, Sid's abuse of his body, his buddies and his music gave evidence of a rock Rimbaud...