Word: spader
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Like most of Mamet's plays, Race is a relatively slight affair: three scenes, four characters, one unnecessary intermission. It opens with two principals of a law firm, one white (James Spader) and one black (David Alan Grier), quizzing a prospective client (Richard Thomas) who has been charged with raping a young black woman. In Scene 1 the lawyers badger him mercilessly, scoffing at his claims of innocence, dismissing his naive hopes that the legal system might exonerate him. By Scene 2, however, the white lawyer has done a nifty 180 (and managed to negate virtually all of his Scene...
Boston Legal, yet another David E. Kelley yarn about a pack of attractive Beantown lawyers, follows Housewives at 10, but it just can’t compete. While the show features the brilliant James Spader in its central role as a creepy-but-likeable prosecutor, Spader’s enjoyable presence is canceled out by William Shatner’s burnt-out senior partner (a living metaphor for ol’ Captain Kirk’s career, perhaps?) and the obnoxious camerawork...
...Practice: Fleet Street," which follows James Spader's character into the world of civil law. Think that can't be as scary as criminal practice? Think again: it costars William Shatner...
...cast is headed by James Spader as defense lawyer Alan Shore, an ethically challenged former embezzler who uses his powers of sleaze to help his colleagues, his clients and his self-interest. The gamble seems to have worked. The show topped NBC's heavily touted Rob Lowe drama, The Lyon's Den, and Spader's complex, even sympathetic performance gives the show more interest than it has had in years. (A stunt casting turn by Sharon Stone helped too.) The old characters, Kelley says, "would always do the right moral thing at the end of the day. That occasioned...
...romance without consummation, a travelogue that rarely hits the road. Sofia Coppola has a witty touch with dialogue that sounds improvised yet reveals, glancingly, her characters' dislocation. She's a real mood weaver, with a gift for goosing placid actors (like Johansson, who looks eerily like the young James Spader) and mining a comic's deadpan depths. Watch Murray's eyes in the climactic scene in the hotel lobby: while hardly moving, they express the collapsing of all hopes, the return to a sleepwalking status quo. You won't find a subtler, funnier or more poignant performance this year than...