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Review: Big Mommas: Like Father, Like Son
Reviews
Clean
Maggie Cheung gives a great performance as aspiring rock chanteuse
By
PETER KEOUGH
|
June 7, 2006
CLEAN
" alt="photo of 'CLEAN'">
3.0
Stars
CLEAN
: Burn out or fade away? Are there children involved?
As Courtney Love can tell you, the choice between burning out and fading away gets complicated when children are involved. Emily Wang (Maggie Cheung), girlfriend of rocker Lee Hauser (James Johnston) and an aspiring rock chanteuse (she’s a kind of new-age Nico), doesn’t act up as much as Love, but she can be a handful. While on tour she blows off Lee’s agent, busts up with Lee, and drives off loaded on heroin. When she returns to the motel, Lee has ODed. After six months in the joint, Emily moves to Paris, leaving behind her six-year-old boy with Lee’s dad, Albrecht (Nick Nolte), but not her drug problem, her feelings of guilt, or her maternal longings. Olivier Assayas renders this familiar tale with sleek indirection, his elliptical cutting perversely leaving out the scenes of the most intense emotion. Hovering over all are Brian Eno’s haunting soundscapes, which echo the anguish of Cheung’s terrific performance.
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[
02/16
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Third Annual Providence Children's Film Festival
@ Cable Car Cinema
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"Dana Levin: A Classical Realist In the 21st Century," an exhibit of paintings
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Mary Poppins
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ARTICLES BY PETER KEOUGH
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| February 16, 2012
In a line of fascist-style stagings of the Bard from Orson Welles's 1937 black-shirted Julius Caesar to Richard Loncraine's brown-shirted Richard III (1998), Ralph Fiennes sets his lean and hungry take on Shakespeare's tragedy in a mo dern-day war zone, paring the play to a brisk two hours.
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| February 15, 2012
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| February 15, 2012
The rotten cop flick has become a mini-genre of sorts, a subset of noir, going back at least to Orson Welles's Touch of Evil .
REVIEW: THE OSCAR NOMINATED SHORT FILMS 2012: DOCUMENTARY
| February 10, 2012
The films in this program contain some of the most powerful images to be seen on the screen this year.
See all articles by:
PETER KEOUGH
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