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— the star persona of Daniel Day-Lewis, an actor, we’re told repeatedly, who “disappears” into his parts?
Maybe it’s not so much an onscreen persona as it is a professional one — that of the daring, profoundly accomplished, go-for-broke actor.
It can be claimed that the writer-director’s patented playful cynicism turned sour over his last half-dozen pictures, but with We’re heading into 2018 without a physical home for Shea Stadium, the venue that graced a sweaty second-floor room in an industrial stretch of East Williamsburg for most of the last decade.
Shea is still searching for a new place to throw its blend of rock, pop, and experimental shows, but while we wait, we can enjoy some of Brooklyn’s premier DIY talent — including the indie-pop group Yucky Duster, the ’90s-alt-inspired Bueno, and the hook-heavy punk group Fits — in Brooklyn Bazaar’s basement space.
So when, as in this movie, he plays someone who is sweet and kind and weak and crawling through moral quicksand, the resulting conflict you feel has you laughing out loud and wringing your hands with anxiety all at the same time.
The worst thing is ending up with people who make you feel all alone."Brilliant.
He is suddenly faced with the possibility of all the fame, fortune and popularity he ever dreamed of, if he can only live with the knowledge of how he got there.
See more » I loved the characterisation of this movie: Robin Williams is one of those actors you have to like.
For all his prodigious talent, what comes across most when we watch his performances is the effort he puts into them.
He doesn’t just do the work; he for the way its patiently elliptical push through a story lasting several years seems to earn its emotional weight scene by scene, only to multiply its twin passions of despair and longing in the gaps that form the spiral architecture of vanishing lives.
At age 84, minimalist composer and filmmaker Phill Niblock maintains a relatively hectic schedule producing music and images motivated by the notion of extending time.