Debra Winger

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Wolf Hall Opening Arrivals

Debra Winger and Arliss Howard - Opening day for Wolf Hall Part 1 and 2 at the Winter Garden Theatre - Arrivals. at Winter Garden Theatre, - New York City, New York, United States - Thursday 9th April 2015

RFK Ripple Of Hope Gala

Debra Winger - Shots of a variety of stars as they arrived at the Robert F Kennedy Ripple Of Hope Gala awards ceremony which were held in Manhattan, New York, United States - Tuesday 16th December 2014

Opening night party for Scenes From a Marriage

Debra Winger and Arliss Howard - An opening night party was held for the play adaptation of the 1970's Swedish TV series "Scenes From a Marriage" at Phebe's Tavern and Grill in New York, New York, United States - Tuesday 23rd September 2014

16th Annual Costume Designer Guild Awards

Debra Winger - 16th Annual Costume Designer Guild Awards - Arrivals - Los Angeles, California, United States - Saturday 22nd February 2014

The 16th Costume Designers Guild Awards

Debra Winger - The 16th Costume Designers Guild Awards - Arrivals - Beverly Hills, California, United States - Saturday 22nd February 2014

Debra Winger
Debra Winger
Debra Winger
Debra Winger
Debra Winger

Misery For David Mamet As The Anarchist Is Cut Short

David Mamet Debra Winger Patti LuPone

It’s a bad time for the playwright David Mamet right now. His new play, The Anarchist, starring Debra Winger and Patti LuPone will close on December 16, 2012, it has been announced. The play opened at the John Golden Theatre on December 2, to largely negative reviews and the effect of those reviews means that the play will only run for its 23 previews and 17 performances, The Wrap has reported. A bitter disappointment, no doubt, for the Pulitzer Prize winning writer, who is more accustomed to being on the receiving end of endless praise, rather than such harsh criticisms as he has received for The Anarchist.

The New York Times review was particularly harsh, saying that the play “is not lurid, spark filled or even expletive laden” and Mark Kennedy of Associated Press was equally dismissive of Mamet’s efforts, writing that “The Anarchist starts in second gear and never really speeds up or slows down, just becomes wave after wave of staccato dialogue that is more pleasant on the page than spoken.” The play had originally been scheduled to run for 14 weeks until February 17, 2013 but it now looks as though the reviews have had a disastrous impact on the play’s fortunes.

To further add to Mamet’s misery, a revival of his 1984 Pulitzer-winning play Glengarry Glen Ross has been pushed back to open this Saturday (December 8, 2012) after originally being planned for November. Let’s hope Mamet’s confidence can weather the storm and we see a return to form from him soon.

Critic Pans David Mamet's The Anarchist: "Theatregoers Will Walk Out"

David Mamet Patti LuPone Debra Winger Mark Kennedy

David Mamet's new play The Anarchist opened at the Golden Theatre in New York City on Sunday (December 2, 2012), though the majority of critics panned the show that tells the story of two actresses playing a verbal game of cat-and-mouse.

Patti LuPone plays Cathy, a middle-aged prison inmate who got an indeterminate sentence behind bars after a deadly armored truck robbery. After 35 years in prison and a conversion to Christianity, Cathy begins to plead for clemency with the warden Ann, played by Debra Winger. The Associated Press' drama critic Mark Kennedy opened his scathing review with, "David Mamet's new play "The Anarchist" contains - shock! - not a single swear word. But some are certain to be used by theatregoers walking out after the show." Echoing the New York Times' devastating review of Guy Fieri's new restaurant, Kennedy picks apart the play piece-by-piece, saying, "Running an intermissionless 70 minutes, "The Anarchist" starts in second gear and never really speeds up or slows down, just becomes wave after wave of staccato dialogue that is more pleasant on the page than spoken." Kennedy delivers the killer blow in his final couple of lines, writing, "It fails to connect to the heart or the mind. But at least it's mercifully short. No sooner have you arrived at the theater than you are back in the street, puffing in the cold air - and maybe sending out an expletive, too."

Mamet - a revered playwright and essayist - is the winner of a Pulitzer Prize and received Tony nominations for the classic Glengarry Glen Ross (1984) and Speed-the-Plow (1988). As a screenwriter, he received Oscar nominations for The Verdict (1982) and Wag the Dog (1997).

Continue reading: Critic Pans David Mamet's The Anarchist: "Theatregoers Will Walk Out"

Video - Debra Winger And Patti LuPone Don't Know How The Audience Will React To 'The Anarchist'

'An Officer and a Gentleman' star Debra Winger and 'Driving Miss Daisy' actress Patti LuPone speak at a press conference at Davenport Studios about their forthcoming Broadway show 'The Anarchist' by David Mamet.

Debra explains how the experiences of acting in a film and on stage are different because film goes through many processes after an actor has had their 'moment': 'I can't wait to live every night on stage with Patti', she says. The actresses also reveal that it is impossible to know how an audience is going to react. 'You might think it's the greatest thing you've ever done and audiences are walking out in droves', says Patti

Rachel Getting Married Review

Anne Hathaway looks like a movie star, but more often than not acts like a studious, earnest head of the class. Rather than filtering characters through some kind of star persona or actorly invention, she does what is required with such technical precision that her performances lose any spark of spontaneity (that's why she didn't get any laughs playing Agent 99 in Get Smart; she somehow managed to play the straight woman role too straight).

But something happens in Jonathan Demme's Rachel Getting Married. Hathaway plays Kym, the black sheep of an upper-middle-class Connecticut family who has left rehab in time to attend her sister Rachel's wedding. This isn't simply a case of an actress obviously playing against type, although she clearly is. Hathaway teases her studiousness out into self-centered, self-destructive prickliness; Kym is like a teacher's pet, begging to be rewarded for her self-aware (but caustic and uncomfortable) humor, and her self-serious (yet somehow pompous) parroting of Narcotics Anonymous wisdom.

Continue reading: Rachel Getting Married Review

An Officer And A Gentleman Review

Most articles about the state of American movies in the 1980s feature writers bitching and moaning about how the era was built on sequels and action-packed, plot-deprived blockbusters. They may have a point. Independent films really didn't become relevant (again) until sex, lies, and videotape, which was released in 1989. Miramax was still growing.

Something good did come out of the decade: a slew of great date movies. Not surprisingly, there was a formula to it. The typical woman would get a love story usually featuring a hunky, emotionally lost male lead. The typical man would get a macho storyline featuring slapstick, sports, violence, or male bonding. Sometimes he got to see bare breasts. It all led to movies that didn't require three days of negotiation: Hoosiers, Witness, Field of Dreams, Tootsie, Say Anything (for the music geek subset), and the John Hughes stuff for the teens.

Continue reading: An Officer And A Gentleman Review

Everybody Wins Review

Everybody wins... except the audience, in this initially promising but ultimately baffling waste of a movie, another flick in a long line of Debra Winger thrillers. You know, the kind with a knife on the cover of the DVD, separating her from the male lead. Right. Oddly, there's no blood-covered knife to be found in Everybody Wins: The body count is exactly one, and even that is totally bloodless (despite it occuring during a head-on collision between motorcycle and truck). The plot is barely worth explaining: A "good samaritan" (Winger) hires a flashy P.I. (Nick Nolte) to clear a teenager of his murder conviction. Why the erraticly behaved Winger is interested in this kid turns out to be the big mystery in the film, not the obviousness of his innocence. Nolte turns out to be the surprisingly only thing worth watching here. Who knew such an awful movie (and that title) could come from the pen of Arthur Miller?

Thank God It's Friday Review

As Oscar-winning films go, Thank God It's Friday is pretty much at the nadir. It's a quickie flick meant to take advantage of the disco fever of the late 1970s, and given that the entire film takes place inside a discotheque (or en route to one), it does exactly that.

The film pays much more attention to the music (The Commodores headline, Donna Summer croons "Last Dance," which is where the Oscar understandably landed for this film, than it does to characters or story. Well, there really is no story, just a bunch of scenes of people at the club for various reasons. Two underage girls want to compete in a dance competition there. A driver has The Commodores' instruments and needs to get to the show. A white-bread couple celebrates their fifth anniversary (despite club owner Jeff Goldblum hitting on the wife). Stop me if you can fill in the rest.

Continue reading: Thank God It's Friday Review

The Sheltering Sky Review

Bertolucci's grand desert epic gets stuck in the sand right at the start. Its idling husband-wife leads practically assure us of that: They're headed to Africa -- to nowhere in particular -- to while away a year or two. They aren't tourists, they're travelers. But, are Debra Winger and John Malkovich actors you'd remotely associate with such a grand adventure? Or getting lost in "sensual" overload and the pleasures of the flesh? Winger as the concubine of an Arab traveler? The plot is so strange and absurd -- all to get to the point that the desert makes you crazy -- that we're left with nothing but staring at the dusty landscapes, which, as usual, Bertolucci has quite a knack with. Still, we've seen the lovely desert many times before in the movies, and those films have much better stories attached.

Radio Review

HBO's cultish sketch-fest Mr. Show, in one of its more brilliant skewers of the entertainment business, did a hysterical mock movie awards show where all categories were for playing mentally challenged adults. The heart of the joke was the way the actors engaged in sickening self-congratulation for their "courageous" role choices.

Cuba Gooding Jr. deserves similar congratulations for his courage, not just for "playing retarded" in the titular role in Radio, but for most of what he's done since he won his own Oscar as jawboning jock Rod Tidwell in 1996's Jerry Maguire, a role in which his only devastating handicap was playing for the Arizona Cardinals. If not true fearlessness, it's hard to imagine what else can explain some of Gooding's recent script-picking decisions - Chill Factor, Instinct, Rat Race, Snow Dogs, and the execrable Boat Trip come to mind. Maybe he can't read.

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Eulogy Review

Michael Clancy's Eulogy is sort of a sitcom version of The Royal Tenenbaums, with its estranged family united by a dying (well, in this case, dead) patriarch who no one particularly likes (played here, briefly, by Rip Torn). The most sympathetic and grounded member of the family is Kate (Zooey Deschanel); she is chosen to deliver her grandfather's eulogy, and must extract scarce fond memories from her father Daniel (Hank Azaria) and his siblings Skip, Lucy, and Alice (Ray Romano, Kelly Preston, and Debra Winger, respectively).

Standard black-comedy stuff, then, though not without promise. Clancy doesn't have a strong directorial touch, operating only a level or two above the point-and-shoot techniques of an actual sitcom -- and a little lower when it comes to the laugh-track ready entrances and exits. But he does capture the feel -- the shabby decor, the lines of cereal boxes, the personal trepidation -- of a reluctant and unkempt family gathering. The Collins family is trapped in the family home until the funeral is over, foraging for emotional connections purely out of necessity. Whether this authenticity is achieved through close observation or a low budget is not immediately apparent; regardless, Eulogy's distaff family unit is more or less convincing -- as a whole, at least.

Continue reading: Eulogy Review

Debra Winger

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