Word: portrayal
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...knows too well. Each character brings personal demons into the struggle to hunt down individual night-mares. Yet somehow, these two tortured souls managed to connect, and in a dark and painful novel, this friendship holds the only promise of hope and redemption. Among horrible acts of violence that portray humanity as empty and meaningless, their relationship offers a sort of salvation, a reason for mankind to fight against the cruel, soulless monsters who kidnapped Bob's little girl...
...life. The essence of America seems to slip through Rushdie's fingers, and a rich history of pop culture is reduced to a handful of amusing cameos. Narrator Rai becomes myopic in this foreign environment, keeping Vina and Ormus at a distance from the reader and failing to portray them as more than celebrated anomalies...
What to Look For Early trailers seem to portray the film as a cat-and-mouse thriller between Bridges and Robbins, but inside buzz suggests that an abundance of meaty plot twists make the story much more complex. Any which way, Arlington Road is a big step up for director Mark Pellington, a music video veteran who debuted with the little-seen 1997 flick Going All the Way. Word from the studio is that the film is more than your standard action-thriller--it's just as much about the inner struggle of a man caught up in the grip...
...Paris sequence of the movie, in which a slightly older Chris is an artist/photographer/waiter, shows him trying to live out his dream. Metroland manages to portray the City of Light as it must have seemed to so many like Chris and Toni: the City of Life. Throughout the movie, but especially in Paris, the excited soundtrack and overlapping scenes and transitions give the sense that the city holds the key to everything Chris is seeking. The ultimate manifestation of the freedom he craves is found in his French girlfriend, Annick. One of the most passionately played characters of the movie...
...Mamet's piece calls for. American Buffalo is not so much about what happens to these characters as it is about how they interact, how they yell and fight and make up, how they desperately need each other because they have nothing else in the world. His ability to portray this sense of need, this soft underside to Mamet's otherwise brutal play, is Kellerman's greatest strength as the director of this piece. He's found what many directors (even Mamet himself at times) lose when they approach Mamet's characteristically coarse works: the compassion, even tenderness that lies...