Word: truman
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Dates: during 2000-2009
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LAURA LINNEY YOU CAN COUNT ON ME Laura Linney has been down this road before. It was 1998, and "The Truman Show" was being heaped with critical praise. By the time Oscar season rolled around, however, the film had lost much of its heat. Truman received a handful of nominations, but Linney was denied a nod for her creepy, hilarious turn as Jim Carrey's wife, an overly cheerful actress who periodically turns to hidden cameras in their home to plug household products, and the film itself was absent from the Best Picture category. "You call something the movie...
...Mirth." And she has a nice little cult following owing to her role as sexual-revolution poster girl Mary Ann Singleton in two "Tales of the City" miniseries (a third will air this year on Showtime). But in her major movies, she's been upstaged by her male costars: "Truman"'s Carrey, "Absolute Power"'s Clint Eastwood, "Primal Fear"'s Richard Gere and "Congo"'s primal brutes...
...movie has gone goofily gothic--more Wes Craven than Truman Capote--and you may be convinced that director Raimi meant The Gift to be a deadpan postmodernist horror comedy. The sole evidence to the contrary is Blanchett's performance: persuasive, subtle, impeccable. She seems the only guardian of sanity in this good-old-boy Bellevue...
...watched transfixed with Tipper and three of the children while Gore got on the phone for a conference call with his lawyers. "There we were getting the opinion, slow page by slow page over the fax machine, as CNN was reporting on us getting the opinion. It was The Truman Show." At first, Reiner said, Gore was encouraged that while there was an equal-protection problem, it could be fixed by making the standard for counting votes uniform. But he was crushed when the court imposed a deadline by which it couldn't possibly be fixed...
...more so than the script, by Billy Bob Thornton and Tom Epperson; it is given to violent outbursts amid its sullen patches, and plot twists that don't strain plausibility so much as ignore it. By the end, the movie has gone goofily gothic - more Wes Craven than Truman Capote - and you may be convinced that director Raimi meant "The Gift" to be a deadpan postmodernist horror comedy. The sole evidence to the contrary is Blanchett's performance: persuasive, subtle, impeccable. She seems the only guardian of sanity in this good-old-boy Bellevue...