Word: on-screen
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...situations. Nor does Olmi allow his characters the chance to talk, however inarticulately or apolitically, about the matters of life, death and love that perpetually confront them. Presumably he has no idea what they would say. Since he has cast inexpressive non-actors in the roles, the faces on-screen do not fill in the thoughts and emotions that are absent in the script...
...Pacino ought to have sprouted a long, pointy mustache for his Richard III so he could twirl it. Returning to the stage for this limited engagement (through July 15) at Broadway's Cort Theater, the man who mumbled so effectively through two Godfathers on-screen turns Shakespeare's "bunch-back'd toad" into a smarmy caricature villain out of silent movies and old comic strips; he personifies the sort of dastard who forecloses the mortgage on the family farm and threatens the virtue of fair young damsels...
...ever encountered any incarnation of Please Don 't Eat the Daisies. Unfortunately, Burnett doesn't get any help from Director Robert Day. His idea of high drama is to end a scene with a close-up of characters getting up from a couch. The only animated figure on-screen is Charles Grodin, playing Burnett's husband: he charges through the movie in a quite understandable state of panic...
...they detonate, and he fuses all this with bravura good-humor. Compare this portrait to his massive, thick-featured, iron-rimmed Nazi dentist in the Marathon Man and you've good example of why people label this great man the most versatile actor who's ever lived. Olivier is on-screen more than anyone else in the The Boys from Brazil, and he hasn't had a movie role this large since Sleuth in 1972. If for no other reason, you should see this film, to see him biting Gregory Peck, hissing at Uta Hagen, or grimacing at Rosemary Harris...
...ineffectual to the end, Mikhalkov refuses to poke fun at them. More often he is touched by their plight-especially that of Olga, the movie troupe's star actress. Olga barrels through real-life matters of love, death and conscience in the same florid manner as in her on-screen roles, yet she is more tragic than foolish. As played by Yelena Solovey, an actress of impressive range, this heroine's helpless indecisiveness sometimes achieves Chekhovian dimensions...