Word: whodunit
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...that actors don’t have to be showy to be effective. Too bad that nobody told Sean Penn, who brings his full actor-y powers to bear in Mystic River, Eastwood’s latest effort. Too often, the film feels less like the well-crafted whodunit at its center and more like a freshman acting class: Penn thrashes and grimaces, Tim Robbins acts numb, and Marcia Gay Harden wobbles her voice so much that you wonder if she’s standing on the San Andreas Fault. On the other hand, Kevin Bacon does some...
...that actors don’t have to be showy to be effective. Too bad that nobody told Sean Penn, who brings his full actor-y powers to bear in Mystic River, Eastwood’s latest effort. Too often, the film feels less like the well-crafted whodunit at its center and more like a freshman acting class: Penn thrashes and grimaces, Tim Robbins acts numb, and Marcia Gay Harden wobbles her voice so much that you wonder if she’s standing on the San Andreas Fault. On the other hand, Kevin Bacon does some...
...that actors don’t have to be showy to be effective. Too bad that nobody told Sean Penn, who brings his full actor-y powers to bear in Mystic River, Eastwood’s latest effort. Too often, the film feels less like the well-crafted whodunit at its center and more like an freshman acting class: Penn thrashes and grimaces, Tim Robbins acts numb, and Marcia Gay Harden wobbles her voice so much that you wonder if she’s standing on the San Andreas Fault. On the other hand, Kevin Bacon does some...
...that actors don’t have to be showy to be effective. Too bad that nobody told Sean Penn, who brings his full actor-y powers to bear in Mystic River, Eastwood’s latest effort. Too often, the film feels less like the well-crafted whodunit at its center and more like an freshman acting class: Penn thrashes and grimaces, Tim Robbins acts numb, and Marcia Gay Harden wobbles her voice so much that you wonder if she’s standing on the San Andreas Fault. On the other hand, Kevin Bacon does some...
...been Princess Perky, and who is fine, not great, in the role. Anyway, the sex is mostly in the talk, which is in its way as violent as the grisly murder tableaux. Ruffalo's whispery voice, his Brando-wannabe mannerisms and the ambiguities of a shady cop in a whodunit - he's one of those movie characters who are guilty until proved interesting - make Molloy's every flirtation sound like a threat, a dirty secret, a dream as scary as it is seductive. In the Cut prizes atmosphere over coherence; it's as much a thing of pieces...