Word: marcs
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...century Venice. Prefaced by both opening and closing textual summations, the film clearly advances a social agenda--in this respect, it slides by with an average grade. The cleverness of the rest of its script and the excellence of the acting, however, save Dangerous Beauty and make it shine. Marc P. Resteghini...
...center of attention in Art, you won't be surprised to learn, is a work of art: a big, plain, all-white painting that Serge, a well-to-do doctor, has bought for 200,000 francs. His friend Marc, who fancies himself an art buff but hates the modern stuff, is appalled at the purchase and tells him so. Each of them tries to enlist the support of a third friend, Yvan, who has other things on his mind, mainly his approaching wedding. In the brief 90 minutes that French author Yasmina Reza's play takes to unfold, the three...
...Albert Finney and Tom Courtenay. It has been eagerly awaited by Broadway: finally, in a season when big musicals are getting all the buzz, a straight play with a chance of becoming a hot ticket. The U.S. cast boasts at least one marquee name--Alan Alda, who plays Marc with a few too many sitcom inflections--along with two solid co-stars, Victor Garber and Alfred Molina. Director Matthew Warchus' sleek, mod production (a white set dominated by three chairs and a coffee table) is essentially the same as the one still drawing nearly full houses in London...
Unfortunately, Art is an overrated trifle: one of those small, schematic finger exercises that seem to win critical praise in direct proportion to their lack of ambition. The characters are all too easy to parse: Serge is a modernist but really a dilettante; Marc, a classicist who's a snob underneath; Yvan, an art-naif who goes whichever way the wind blows. The audience has little investment in the clash between them because their friendship seems implausible from the get-go: there's no explanation of how or why they became friends, no real sense of closeness. This might...
...film tries to get warm and sweet, but concludes with a contrived and impossible ending. Leaving the theatre, one cannot help feeling that Touchstone Pictures took a cue from Krippendorf and his false tribe by stealing ticket money, and handing over this excuse for a movie in its place. --Marc P. Resteghini...