Doctor Who
Series 6, Episode 7: A Good Man Goes to War
Directed by Peter Hoar
Written by Steven Moffat
Starring Matt Smith, Karen Gillan, Arthur Darvill, Alex Kingston, Frances Barber, Charles Baker, Dan Johnston, Christian Chong, Joshua Hayes, Damian Kell, Neve McIntosh, Catrin Stewart, Richard Trinder, Annabel Cleare, Henry Wood, Dan Starkey, Simon Fisher, Danny Sapani, Hugh Bonneville, Oscar Lloyd, and Nicholas Briggs
BBC America
Air date: June 7, 2010
Doctor Who is certainly a show that often raises more questions than it answers and “A Good Man Goes to War” is a perfect example of this. Yet, when the series provides answers, it’s done in such a satisfying way that the various unanswered questions don’t matter. While “A Good Man Goes to War” poses many of these unanswered questions, there’s also a surprising amount of clarity. Before we dive into some of these queries, let’s take a...
Series 6, Episode 7: A Good Man Goes to War
Directed by Peter Hoar
Written by Steven Moffat
Starring Matt Smith, Karen Gillan, Arthur Darvill, Alex Kingston, Frances Barber, Charles Baker, Dan Johnston, Christian Chong, Joshua Hayes, Damian Kell, Neve McIntosh, Catrin Stewart, Richard Trinder, Annabel Cleare, Henry Wood, Dan Starkey, Simon Fisher, Danny Sapani, Hugh Bonneville, Oscar Lloyd, and Nicholas Briggs
BBC America
Air date: June 7, 2010
Doctor Who is certainly a show that often raises more questions than it answers and “A Good Man Goes to War” is a perfect example of this. Yet, when the series provides answers, it’s done in such a satisfying way that the various unanswered questions don’t matter. While “A Good Man Goes to War” poses many of these unanswered questions, there’s also a surprising amount of clarity. Before we dive into some of these queries, let’s take a...
- 6/21/2011
- by Goodman
- Geeks of Doom
"My Kingdom" was made two years ago, but with the recent death of its star, Richard Harris, the movie can truthfully bill this as Harris' final performance in a leading role. While clearly unwell, Harris nevertheless delivers the emotional and psychological power to drive such an ambitious project. For writer-director Don Boyd has transposed the story and themes of Shakespeare's "King Lear" into the contemporary Liverpool underworld.
Harris commands the screen, using his frailty to suggest the ravages of a life of corruption and ruthlessness. Always an actor possessing a marvelous technique, Harris changes the register of his voice from whisper to bark to growl. This is a man who forces people to listen to him. Carefully. Then, as things unravel, we sense power oozing from the man. Thanks in some measure to this valedictory performance, My Kingdom" should attract appreciative moviegoers in specialty venues.
The contours of Shakespeare's tragedy aren't perfectly suited to a gangster movie. Crime kingdoms don't crumple this quickly. A viewer cannot understand why a feared crime boss suddenly has no bargaining chips or favors to call in as he struggles with his lethally contentious family. But the emotional truth of the situation never feels wrong.
Boyd, who co-wrote his script with Nick Davies, a journalist familiar with criminal gangs, views the Liverpool underworld as a vicious cesspool of corruption, violence and power grabs. The city, too, becomes a major character. While clearly suffering economic havoc, the place gives off frightening vitality. Even the sun plays tricks with the landscape, sometimes dangerously dark yet with bright light bouncing off distant buildings.
Harris plays Sandeman, an Irish immigrant who has clawed his way to power as a feared crime lord. After attending a concert in Liverpool Cathedral, Sandeman and his wife, Mandy Lynn Redgrave), are mugged by a thief who shoots Mandy dead. A grieving Sandeman orders henchmen to investigate what he is convinced was an assassination attempt by rivals. Unbalanced by the death of his wife, he begins to make bad decisions.
First he tries to turn the family fortune, always kept in his wife's name, over to his youngest daughter, Jo (Emma Catherwood), a former crack addict who since her recovery has become the sanest family member. But she refuses and is emboldened to quit her corrupt family altogether. With his curses still ringing around Jo's head, Sandeman splits the fortune between his remaining two daughters. Kath (Louise Lombard) runs a brothel and is married to Dean (Paul McGann), the head of a sleazy security firm. Tracy (Lorraine Pilkington) owns a soccer team with her sadistic husband Jughinder (Jimi Mistry).
The daughters set in motion plots not only against one another but against the father who never gave them affection. Each wants to get in on the father's latest scheme, a smuggling operation already under way. As their husbands maneuver for their share of the spoils, outsiders make their moves, including a corrupt police detective (Aidan Gillen), a driven customs inspector (Tom Bell) and a rival gang leader (Colin Salmon).
His house literally sold from under him, Sandeman's only companion is Kath's neglected, mixed-race son, Boy (Reece Noi). Boy accompanies his granddad on his mad wanderings through his disintegrating world. Confronted by decades of blindness as to the true nature of his family, Sandeman is horrified at the venom running through everyone's veins. In his final act, he takes revenge against his family, but what a hollow victory that is.
Credits are first-rate, especially Dewald Aukema's cinematography in the rough urban terrain.
MY KINGDOM
First Look Pictures
Sky Pictures, Close Grip Films and Primary Pictures
Credits:
Director: Don Boyd
Screenwriters: Nick Davies, Don Boyd
Producers: Neal Weisman, Gabriela Bacher
Executive producers: William Turner, Madine Mellor
Director of photography: Dewald Aukema
Production designer: Luana Hanson
Music: Deidre Gribbin, Simon Fisher Turner
Co-producer: Kermit Smith
Costume designer: Mary Jane Reyner
Editor: Adam Ross
Cast:
Sandeman: Richard Harris
Mandy: Lynn Redgrave
Boy: Reece Noi
Jo: Emma Catherwood
Tracy: Lorraine Pilkington
Kath: Louise Lombard
Jug: Jimi Mistry
Dean: Paul McGann
Barry Puttnam: Aidan Gillen
Quick: Tom Bell
Running time -- 115 minutes
No MPAA rating...
Harris commands the screen, using his frailty to suggest the ravages of a life of corruption and ruthlessness. Always an actor possessing a marvelous technique, Harris changes the register of his voice from whisper to bark to growl. This is a man who forces people to listen to him. Carefully. Then, as things unravel, we sense power oozing from the man. Thanks in some measure to this valedictory performance, My Kingdom" should attract appreciative moviegoers in specialty venues.
The contours of Shakespeare's tragedy aren't perfectly suited to a gangster movie. Crime kingdoms don't crumple this quickly. A viewer cannot understand why a feared crime boss suddenly has no bargaining chips or favors to call in as he struggles with his lethally contentious family. But the emotional truth of the situation never feels wrong.
Boyd, who co-wrote his script with Nick Davies, a journalist familiar with criminal gangs, views the Liverpool underworld as a vicious cesspool of corruption, violence and power grabs. The city, too, becomes a major character. While clearly suffering economic havoc, the place gives off frightening vitality. Even the sun plays tricks with the landscape, sometimes dangerously dark yet with bright light bouncing off distant buildings.
Harris plays Sandeman, an Irish immigrant who has clawed his way to power as a feared crime lord. After attending a concert in Liverpool Cathedral, Sandeman and his wife, Mandy Lynn Redgrave), are mugged by a thief who shoots Mandy dead. A grieving Sandeman orders henchmen to investigate what he is convinced was an assassination attempt by rivals. Unbalanced by the death of his wife, he begins to make bad decisions.
First he tries to turn the family fortune, always kept in his wife's name, over to his youngest daughter, Jo (Emma Catherwood), a former crack addict who since her recovery has become the sanest family member. But she refuses and is emboldened to quit her corrupt family altogether. With his curses still ringing around Jo's head, Sandeman splits the fortune between his remaining two daughters. Kath (Louise Lombard) runs a brothel and is married to Dean (Paul McGann), the head of a sleazy security firm. Tracy (Lorraine Pilkington) owns a soccer team with her sadistic husband Jughinder (Jimi Mistry).
The daughters set in motion plots not only against one another but against the father who never gave them affection. Each wants to get in on the father's latest scheme, a smuggling operation already under way. As their husbands maneuver for their share of the spoils, outsiders make their moves, including a corrupt police detective (Aidan Gillen), a driven customs inspector (Tom Bell) and a rival gang leader (Colin Salmon).
His house literally sold from under him, Sandeman's only companion is Kath's neglected, mixed-race son, Boy (Reece Noi). Boy accompanies his granddad on his mad wanderings through his disintegrating world. Confronted by decades of blindness as to the true nature of his family, Sandeman is horrified at the venom running through everyone's veins. In his final act, he takes revenge against his family, but what a hollow victory that is.
Credits are first-rate, especially Dewald Aukema's cinematography in the rough urban terrain.
MY KINGDOM
First Look Pictures
Sky Pictures, Close Grip Films and Primary Pictures
Credits:
Director: Don Boyd
Screenwriters: Nick Davies, Don Boyd
Producers: Neal Weisman, Gabriela Bacher
Executive producers: William Turner, Madine Mellor
Director of photography: Dewald Aukema
Production designer: Luana Hanson
Music: Deidre Gribbin, Simon Fisher Turner
Co-producer: Kermit Smith
Costume designer: Mary Jane Reyner
Editor: Adam Ross
Cast:
Sandeman: Richard Harris
Mandy: Lynn Redgrave
Boy: Reece Noi
Jo: Emma Catherwood
Tracy: Lorraine Pilkington
Kath: Louise Lombard
Jug: Jimi Mistry
Dean: Paul McGann
Barry Puttnam: Aidan Gillen
Quick: Tom Bell
Running time -- 115 minutes
No MPAA rating...
- 12/10/2002
- The Hollywood Reporter - Movie News
"My Kingdom" was made two years ago, but with the recent death of its star, Richard Harris, the movie can truthfully bill this as Harris' final performance in a leading role. While clearly unwell, Harris nevertheless delivers the emotional and psychological power to drive such an ambitious project. For writer-director Don Boyd has transposed the story and themes of Shakespeare's "King Lear" into the contemporary Liverpool underworld.
Harris commands the screen, using his frailty to suggest the ravages of a life of corruption and ruthlessness. Always an actor possessing a marvelous technique, Harris changes the register of his voice from whisper to bark to growl. This is a man who forces people to listen to him. Carefully. Then, as things unravel, we sense power oozing from the man. Thanks in some measure to this valedictory performance, My Kingdom" should attract appreciative moviegoers in specialty venues.
The contours of Shakespeare's tragedy aren't perfectly suited to a gangster movie. Crime kingdoms don't crumple this quickly. A viewer cannot understand why a feared crime boss suddenly has no bargaining chips or favors to call in as he struggles with his lethally contentious family. But the emotional truth of the situation never feels wrong.
Boyd, who co-wrote his script with Nick Davies, a journalist familiar with criminal gangs, views the Liverpool underworld as a vicious cesspool of corruption, violence and power grabs. The city, too, becomes a major character. While clearly suffering economic havoc, the place gives off frightening vitality. Even the sun plays tricks with the landscape, sometimes dangerously dark yet with bright light bouncing off distant buildings.
Harris plays Sandeman, an Irish immigrant who has clawed his way to power as a feared crime lord. After attending a concert in Liverpool Cathedral, Sandeman and his wife, Mandy Lynn Redgrave), are mugged by a thief who shoots Mandy dead. A grieving Sandeman orders henchmen to investigate what he is convinced was an assassination attempt by rivals. Unbalanced by the death of his beloved wife, he begins to make bad decisions.
First he tries to turn the family fortune, always kept in his wife's name, over to his youngest daughter, Jo (Emma Catherwood), a former crack addict who since her recovery has become the sanest family member. But she refuses and is emboldened to quit her corrupt family altogether. With his curses still ringing around Jo's head, Sandeman splits the fortune between his remaining two daughters. Kath (Louise Lombard) runs a brothel and is married to Dean (Paul McGann), the head of a sleazy security firm. Tracy (Lorraine Pilkington) owns a soccer team with her sadistic husband Jughinder (Jimi Mistry).
The daughters set in motion plots not only against one another but against the father who never gave them affection. Each wants to get in on the father's latest scheme, a smuggling operation already under way. As their husbands maneuver for their share of the spoils, outsiders make their moves, including a corrupt police detective (Aidan Gillen), a driven customs inspector (Tom Bell) and a rival gang leader (Colin Salmon).
His house literally sold from under him, Sandeman's only companion is Kath's neglected, mixed-race son, Boy (Reece Noi). Boy accompanies his granddad on his mad wanderings through his disintegrating world. Confronted by decades of blindness as to the true nature of his family, Sandeman is horrified at the venom running through everyone's veins. In his final act, he takes revenge against his family, but what a hollow victory that is.
Credits are first-rate, especially Dewald Aukema's cinematography in the rough urban terrain.
MY KINGDOM
First Look Pictures
Sky Pictures, Close Grip Films and Primary Pictures
Credits:
Director: Don Boyd
Screenwriters: Nick Davies, Don Boyd
Producers: Neal Weisman, Gabriela Bacher
Executive producers: William Turner, Madine Mellor
Director of photography: Dewald Aukema
Production designer: Luana Hanson
Music: Deidre Gribbin, Simon Fisher Turner
Co-producer: Kermit Smith
Costume designer: Mary Jane Reyner
Editor: Adam Ross
Cast:
Sandeman: Richard Harris
Mandy: Lynn Redgrave
Boy: Reece Noi
Jo: Emma Catherwood
Tracy: Lorraine Pilkington
Kath: Louise Lombard
Jug: Jimi Mistry
Dean: Paul McGann
Barry Puttnam: Aidan Gillen
Quick: Tom Bell
Running time -- 115 minutes
No MPAA rating...
Harris commands the screen, using his frailty to suggest the ravages of a life of corruption and ruthlessness. Always an actor possessing a marvelous technique, Harris changes the register of his voice from whisper to bark to growl. This is a man who forces people to listen to him. Carefully. Then, as things unravel, we sense power oozing from the man. Thanks in some measure to this valedictory performance, My Kingdom" should attract appreciative moviegoers in specialty venues.
The contours of Shakespeare's tragedy aren't perfectly suited to a gangster movie. Crime kingdoms don't crumple this quickly. A viewer cannot understand why a feared crime boss suddenly has no bargaining chips or favors to call in as he struggles with his lethally contentious family. But the emotional truth of the situation never feels wrong.
Boyd, who co-wrote his script with Nick Davies, a journalist familiar with criminal gangs, views the Liverpool underworld as a vicious cesspool of corruption, violence and power grabs. The city, too, becomes a major character. While clearly suffering economic havoc, the place gives off frightening vitality. Even the sun plays tricks with the landscape, sometimes dangerously dark yet with bright light bouncing off distant buildings.
Harris plays Sandeman, an Irish immigrant who has clawed his way to power as a feared crime lord. After attending a concert in Liverpool Cathedral, Sandeman and his wife, Mandy Lynn Redgrave), are mugged by a thief who shoots Mandy dead. A grieving Sandeman orders henchmen to investigate what he is convinced was an assassination attempt by rivals. Unbalanced by the death of his beloved wife, he begins to make bad decisions.
First he tries to turn the family fortune, always kept in his wife's name, over to his youngest daughter, Jo (Emma Catherwood), a former crack addict who since her recovery has become the sanest family member. But she refuses and is emboldened to quit her corrupt family altogether. With his curses still ringing around Jo's head, Sandeman splits the fortune between his remaining two daughters. Kath (Louise Lombard) runs a brothel and is married to Dean (Paul McGann), the head of a sleazy security firm. Tracy (Lorraine Pilkington) owns a soccer team with her sadistic husband Jughinder (Jimi Mistry).
The daughters set in motion plots not only against one another but against the father who never gave them affection. Each wants to get in on the father's latest scheme, a smuggling operation already under way. As their husbands maneuver for their share of the spoils, outsiders make their moves, including a corrupt police detective (Aidan Gillen), a driven customs inspector (Tom Bell) and a rival gang leader (Colin Salmon).
His house literally sold from under him, Sandeman's only companion is Kath's neglected, mixed-race son, Boy (Reece Noi). Boy accompanies his granddad on his mad wanderings through his disintegrating world. Confronted by decades of blindness as to the true nature of his family, Sandeman is horrified at the venom running through everyone's veins. In his final act, he takes revenge against his family, but what a hollow victory that is.
Credits are first-rate, especially Dewald Aukema's cinematography in the rough urban terrain.
MY KINGDOM
First Look Pictures
Sky Pictures, Close Grip Films and Primary Pictures
Credits:
Director: Don Boyd
Screenwriters: Nick Davies, Don Boyd
Producers: Neal Weisman, Gabriela Bacher
Executive producers: William Turner, Madine Mellor
Director of photography: Dewald Aukema
Production designer: Luana Hanson
Music: Deidre Gribbin, Simon Fisher Turner
Co-producer: Kermit Smith
Costume designer: Mary Jane Reyner
Editor: Adam Ross
Cast:
Sandeman: Richard Harris
Mandy: Lynn Redgrave
Boy: Reece Noi
Jo: Emma Catherwood
Tracy: Lorraine Pilkington
Kath: Louise Lombard
Jug: Jimi Mistry
Dean: Paul McGann
Barry Puttnam: Aidan Gillen
Quick: Tom Bell
Running time -- 115 minutes
No MPAA rating...
- 12/5/2002
- The Hollywood Reporter - Movie News
Belatedly receiving an American release as part of the enterprising Shooting Gallery indie series, this film from British director Mike Hodges ("Get Carter") has many fine things to recommend it, most notably an intense and minimalist performance by Clive Owen and Hodges' gloomily atmospheric direction.
Even though it is ultimately less effective in terms of plotting than mood, "Croupier" is nonetheless a welcome return to form for a filmmaker who has been far too inactive.
Owen plays Jack Manfred, a novelist struggling with writer's block who, at the urging of his wayward father, takes a job as a casino croupier in order to gain some much-needed inspiration. Totally contemptuous of gambling and the people who indulge in it, the taciturn Jack soon discovers that, thanks to his powers of observation, he's quite adept at his newfound profession.
Despite the fact that he has a live-in girlfriend, he becomes sexually involved with a co-worker and also begins a flirtatious relationship with a beautiful South African woman (Alex Kingston of "ER") who soon reveals her true motive: She wants him to be the inside man on a scheme to rob the casino.
"Croupier", written by Paul Mayersberg ("The Man Who Fell to Earth"), is the sort of cerebral thriller that relies more on densely layered characterizations and provocative dialogue than on conventional action sequences. The film's literary tone is well established by the extensive use of voice-over narration, a device that often falls resoundingly flat but here gives us vital insights into the emotionally reticent central character's psyche.
Although the narrative is too meandering and diffuse to satisfy a mass audience, the film has style to spare. As the quietly amoral antihero, Owen delivers an awesomely assured performance, and Kingston provides intriguing sultriness as his partner in crime.
CROUPIER
The Shooting Gallery
Credits: Director: Mike Hodges; Screenwriter: Paul Mayersberg; Producer: Jonathan Cavendish; Executive producer: James Mitchell; Director of photography: Mike Garfath; Editor: Leo Healey; Composer: Simon Fisher Turner; Production designer: Jon Bunker. Cast: Jack Manfred: Clive Owen; Marion Neil: Gina McKee; Jani de Villiers: Alex Kingston; David Reynolds: Alexander Morton; Bella: Kate Hardie; Matt: Paul Reynolds. No MPAA rating. Color/stereo. Running time -- 89 minutes.
Even though it is ultimately less effective in terms of plotting than mood, "Croupier" is nonetheless a welcome return to form for a filmmaker who has been far too inactive.
Owen plays Jack Manfred, a novelist struggling with writer's block who, at the urging of his wayward father, takes a job as a casino croupier in order to gain some much-needed inspiration. Totally contemptuous of gambling and the people who indulge in it, the taciturn Jack soon discovers that, thanks to his powers of observation, he's quite adept at his newfound profession.
Despite the fact that he has a live-in girlfriend, he becomes sexually involved with a co-worker and also begins a flirtatious relationship with a beautiful South African woman (Alex Kingston of "ER") who soon reveals her true motive: She wants him to be the inside man on a scheme to rob the casino.
"Croupier", written by Paul Mayersberg ("The Man Who Fell to Earth"), is the sort of cerebral thriller that relies more on densely layered characterizations and provocative dialogue than on conventional action sequences. The film's literary tone is well established by the extensive use of voice-over narration, a device that often falls resoundingly flat but here gives us vital insights into the emotionally reticent central character's psyche.
Although the narrative is too meandering and diffuse to satisfy a mass audience, the film has style to spare. As the quietly amoral antihero, Owen delivers an awesomely assured performance, and Kingston provides intriguing sultriness as his partner in crime.
CROUPIER
The Shooting Gallery
Credits: Director: Mike Hodges; Screenwriter: Paul Mayersberg; Producer: Jonathan Cavendish; Executive producer: James Mitchell; Director of photography: Mike Garfath; Editor: Leo Healey; Composer: Simon Fisher Turner; Production designer: Jon Bunker. Cast: Jack Manfred: Clive Owen; Marion Neil: Gina McKee; Jani de Villiers: Alex Kingston; David Reynolds: Alexander Morton; Bella: Kate Hardie; Matt: Paul Reynolds. No MPAA rating. Color/stereo. Running time -- 89 minutes.
- 4/25/2000
- The Hollywood Reporter - Movie News
If you go to the Pacific Design Center in West Hollywood and stroll around the kitchen section where all those metal refrigerators and icers and things are, you'll get a feel for "Claire Dolan", a frosty, modern work of filmic blue.
A character portrait of a modern-day call girl, Cannes film festival competition entry "Claire Dolan", scorched in arctic blues and chilly framings, is a mildly interesting but ultimately detached divertissement that will likely swing no more than a one-night stand on the art house circuit.
Katrin Cartlidge stars as Claire, a fashionable woman who has somehow run up a huge debt to her pimp (Colm Meaney). We're never told how this came to be -- she doesn't seem to have a drug habit, and she's methodical to such a degree we can't imagine her not balancing her checkbook to the penny.
In her late 30s, Claire's feeling the pressure from some sort of psychological clock and has decided to quit the trade and have a child. With those goals in mind, she increases her caseload, as it were, doing johns with the fierce determination of a chiropractor who schedules overlapping appointments. Not surprisingly, the erotic portion of this film is negligible -- the sex is about as stirring as the demonstration of a newfangled ice maker -- and writer-director Lodge Kerrigan never gets far beneath Claire's surface. As such, "Claire Dolan" is not much more than a tease.
As the titular character, Cartlidge's piercing eyes and steely demeanor never deviate from a one-note performance. As far as we get to know Claire, all we can determine is that she's terminally snippy and, alas, very shallow.
The only flesh-and-blood performance in the film is Vincent D'Onofrio's sharp turn as a frustrated cabbie who tries to connect with Claire. Meaney is, well, a solid meanie as Claire's pimp, but the role is sorely underwritten and we know nothing about him other than he's manipulative and cruel.
Unfortunately, Kerrigan's direction is befitting more an appliance commercial than a human drama. While he evinces a luminously chilly tone -- thanks to the smart and sterile scopings of cinematographer Teodoro Maniaci and the edgy, modernistic production design of Sharon Lomofsky -- "Claire" is merely one frigid film.
CLAIRE DOLAN
MK2 Prods./Serene Films
Screenwriter-director: Lodge Kerrigan
Director of photography: Teodoro Maniaci
Production designer: Sharon Lomofsky
Music: Simon Fisher Turner
Editor: Kristina Boden
Color/stereo
Cast:
Claire Dolan: Katrin Cartlidge
Elton Garrett: Vincent D'Onofrio
Roland Cain: Colm Meaney
Cain's friend: John Doman
Running time -- 95 minutes
No MPAA rating...
A character portrait of a modern-day call girl, Cannes film festival competition entry "Claire Dolan", scorched in arctic blues and chilly framings, is a mildly interesting but ultimately detached divertissement that will likely swing no more than a one-night stand on the art house circuit.
Katrin Cartlidge stars as Claire, a fashionable woman who has somehow run up a huge debt to her pimp (Colm Meaney). We're never told how this came to be -- she doesn't seem to have a drug habit, and she's methodical to such a degree we can't imagine her not balancing her checkbook to the penny.
In her late 30s, Claire's feeling the pressure from some sort of psychological clock and has decided to quit the trade and have a child. With those goals in mind, she increases her caseload, as it were, doing johns with the fierce determination of a chiropractor who schedules overlapping appointments. Not surprisingly, the erotic portion of this film is negligible -- the sex is about as stirring as the demonstration of a newfangled ice maker -- and writer-director Lodge Kerrigan never gets far beneath Claire's surface. As such, "Claire Dolan" is not much more than a tease.
As the titular character, Cartlidge's piercing eyes and steely demeanor never deviate from a one-note performance. As far as we get to know Claire, all we can determine is that she's terminally snippy and, alas, very shallow.
The only flesh-and-blood performance in the film is Vincent D'Onofrio's sharp turn as a frustrated cabbie who tries to connect with Claire. Meaney is, well, a solid meanie as Claire's pimp, but the role is sorely underwritten and we know nothing about him other than he's manipulative and cruel.
Unfortunately, Kerrigan's direction is befitting more an appliance commercial than a human drama. While he evinces a luminously chilly tone -- thanks to the smart and sterile scopings of cinematographer Teodoro Maniaci and the edgy, modernistic production design of Sharon Lomofsky -- "Claire" is merely one frigid film.
CLAIRE DOLAN
MK2 Prods./Serene Films
Screenwriter-director: Lodge Kerrigan
Director of photography: Teodoro Maniaci
Production designer: Sharon Lomofsky
Music: Simon Fisher Turner
Editor: Kristina Boden
Color/stereo
Cast:
Claire Dolan: Katrin Cartlidge
Elton Garrett: Vincent D'Onofrio
Roland Cain: Colm Meaney
Cain's friend: John Doman
Running time -- 95 minutes
No MPAA rating...
- 5/29/1998
- The Hollywood Reporter - Movie News
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