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Olive is talentless and threatens to ruin what Shayne considers his very own pure piece of art. The rest of the play's cast, however, is superb, including the fabulous (albeit aging and gargantuanly self-obsessed) Broadway superstar Helen Sinclair (Dianne Wiest), as well as Warner Purcell (Jim Broadbent, of "Enchanted April") and Eden Brent (Tracey Ullman). Moreover, this is a chance to direct his own play on Broadway, and Shayne accepts the compromise...

Author: By Daniel N. Halpern, | Title: Biting the Woody 'Bullets' | 11/3/1994 | See Source »

...Neillian work to life: the wise, temporizing, desperately undercapitalized producer (Jack Warden); the aging ingenue (Tracey Ullman), complete with ill-tempered lapdog; the agreeably self-destructive leading man (Jim Broadbent); above all, the Great Lady of the Theater ("I don't play frumps or virgins"), portrayed by Dianne Wiest in a boldly swooping performance...

Author: /time Magazine | Title: CINEMA: A Gangster Steals the Show | 10/17/1994 | See Source »

...released this year. Next year she co-stars in . . . a Woody Allen picture. But right now she is a director, and a damned fine one, of a small-budget film. Little Man Tate is something sensitive with three people: a gifted child (Adam Hann- Byrd), his sympathetic teacher (Dianne Wiest) and the mother, a defiant single parent, torn between love and loss...

Author: /time Magazine | Title: Jodie Foster: A Screen Gem Turns Director | 10/14/1991 | See Source »

...testing that instinct in her directorial debut with Little Man Tate, the story of a child prodigy (Adam Hann-Byrd), his caring mother (Foster) and a psychiatrist (Dianne Wiest). The film is due in the fall, but this month the new auteur is ecstatic. "I'm jammin'," she says. "It's getting a little hectic, but it's coming along great...

Author: /time Magazine | Title: CINEMA | 2/18/1991 | See Source »

Depp, who wears the hyperalert, slightly wounded expression of someone who has just been slapped out of a deep sleep, brings a wondrous dignity and discipline to Edward. Wiest does a delightful turn on the plucky, loving mothers from old sitcoms. The whole movie, in fact, time-travels between today and the '50s, when every suburban house could be a quiet riot of coordinated pastels. But the film exists out of time -- out of the present cramped time, certainly -- in the any-year of a child's imagination. That child could be the little girl to whom the grandmotherly Ryder...

Author: /time Magazine | Title: Cinema: Shear Heaven | 12/10/1990 | See Source »

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