Word: weisz
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Dates: during 2000-2009
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...director Francis Lawrence and leads Reeves and Rachel Weisz (Angie) run the standard gauntlet of post-release interviews and appearances without saying anything particularly incendiary, the warped religious dimension of Constantine may just slip unnoticed beneath the radar of political correctness...
Surrounded by real actors (Tilda Swinton at her most immaculately decadent as the angel Gabriel, pinwheeling Peter Stormare as Satan, Rachel Weisz as The Girl), Reeves holds his own, creating a force field around his watchful entropy. In his early years, he may have been only a nerd's idea of a hip guy. Now, at 40, he has achieved a freon-cool satori, which makes him the perfect, still center of a visually agitated, intellectually restless movie. --By Richard Corliss
...level, he’s stocked his cast with actors blessed with a talent for quiet rage—notably, Dustin Hoffman, Andy Garcia and Ed Burns. Burns is the con man who runs afoul of Hoffman’s unsettlingly short crime boss. Rachel Weisz also stars as “The Bait,” according to the film’s poster; Luis Guzman, Harvard alum Donal F. Logue ’88 and Yale alum Paul Giamatti take smaller roles. Confidence screens...
...June at London's Almeida Theatre can't help making a serious theatergoer's heart race. The drama, about a college guy who falls under the spell of a manipulative female artist, is making a gratifyingly swift transfer to New York City, retaining its London cast--Paul Rudd, Rachel Weisz, Gretchen Mol and Frederick Weller--and LaBute as director. Look for another unsettling evening, lots of theater-page debates and a battle for tickets. (Opens...
...Evelyn (Rachel Weisz, co-star of The Mummy and its sequel) is a graduate student in art at a small college in the American Midwest. She meets Adam (Paul Rudd, an appealing young stage and screen veteran who played in Bash), a younger student working as a guard at the local museum, where Evelyn is thinking about spray-painting a penis onto the fig leaf adorning an otherwise nude statue. This first scene poses the question: Does this pretty provocateuse dare cross the line that separates propriety from artistic daring...