Mary Beth Hurt

Mary Beth Hurt

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Young Adult Review


Excellent
There isn't much on the surface of this prickly comedy, but the sharp script slices through American culture so astutely that we continually see ourselves in characters who are clearly losers. And the film gives Theron another terrific role to disappear into.

Mavis (Theron) left her small-town home for Minneapolis to become an author of young adult fiction. But as her book series comes to an end, she hears that her high school flame Buddy (Wilson) has just had a baby with his wife Beth (Reaser). So Mavis heads home to try to win him back. Of course, nothing goes as planned, and she ends up instead commiserating with another former classmate, Matt (Oswalt), who also can't seem to move on from his teen years.

Continue reading: Young Adult Review

Young Adult Trailer


Mavis Gary is the ghostwriter for a successful series of young adult novels entitled the Waverly Prep series. Lately, though, the books have been lagging, so the publishers have decided to cancel them. Mavis has almost finished what will be the last book in the series but is struggling with the last chapter. She is also struggling with more personal issues in her life: she has a drinking problem and longs to relive the glory days of high school, where she was a popular cheerleader and dating the resident 'It' boy, Buddy Slade.

Continue: Young Adult Trailer

Picture - Jimmy Davis, Mary Beth Hurt,... New York City, USA, Monday 25th April 2011

Mary Beth Hurt, Alison Pill, Ben Stiller, Edie Falco, Halley Feiffer and Jennifer Jason Leigh - Jimmy Davis, Mary Beth Hurt, Halley Feiffer, Christopher Abbott, Jennifer Jason Leigh, Ben Stiller, Edie Falco, Alison Pill, Thomas Sadoski, Susan Bennett and Tally Sessions New York City, USA - Opening night of the Broadway production of 'The House Of Blue Leaves' at the Walter Kerr Theatre - Curtain Call Monday 25th April 2011

Picture - Jimmy Davis, Mary Beth Hurt,... New York City, USA, Monday 25th April 2011

Mary Beth Hurt, Ben Stiller, Edie Falco, Halley Feiffer and Jennifer Jason Leigh - Jimmy Davis, Mary Beth Hurt, Halley Feiffer, Christopher Abbott, Jennifer Jason Leigh, Ben Stiller, Edie Falco New York City, USA - Opening night of the Broadway production of 'The House Of Blue Leaves' at the Walter Kerr Theatre - Curtain Call Monday 25th April 2011

Mary Beth Hurt, Ben Stiller, Edie Falco, Halley Feiffer and Jennifer Jason Leigh
Mary Beth Hurt, Ben Stiller, Edie Falco, Halley Feiffer and Jennifer Jason Leigh

Picture - Atmosphere New York City, USA, Monday 25th April 2011

Atmosphere and Mary Beth Hurt Monday 25th April 2011 Opening night of the Broadway production of 'The House Of Blue Leaves' at the Walter Kerr Theatre - Curtain Call New York City, USA

Picture - Jimmy Davis, Mary Beth Hurt,... New York City, USA, Monday 25th April 2011

Mary Beth Hurt, Alison Pill, Ben Stiller, Edie Falco, Halley Feiffer and Jennifer Jason Leigh - Jimmy Davis, Mary Beth Hurt, Halley Feiffer, Christopher Abbott, Jennifer Jason Leigh, Ben Stiller, Edie Falco, Alison Pill, Thomas Sadoski, Susan Bennett New York City, USA - Opening night of the Broadway production of 'The House Of Blue Leaves' at the Walter Kerr Theatre - Curtain Call Monday 25th April 2011

Picture - Mary Beth Hurt New York City, USA, Sunday 23rd May 2010

Mary Beth Hurt Sunday 23rd May 2010 55th Annual Drama Desk Awards held at LaGuardia Concert Hall at Lincoln Center - Arrivals New York City, USA

Untraceable Review


Terrible
It would be wonderful if this review of the newest cyber-torture-stalker-thriller could begin with the words "Untraceable is unwatchable," but sadly that would be a lie. Our tastes have very simply become too degraded over the years for us not to have become used to it as studios have continued to shove out purposeless dreck like this. Call it a formula inoculation, as the films keep coming, with only the slightest noticeable tweaks to their dependable structure (as necessitated by the latest spasms in popular culture that allow a soupcon of relevancy to creep in), we very simply get used to it, no matter how awful.

And awful it is. In a desperate bid to glom on to the Internet's evergreen supposed hipness, the script (a lifeless accumulation of the expected by a trio of writers who really should know better) puts us inside an FBI cyber-crime unit where flint-eyed but tender-hearted agent Jennifer Marsh (Diane Lane) tracks down the worst of the online worst. Stirring from her bank of computer monitors only to get coffee or crack wise with fellow agent Griffin Dowd (Colin Hanks), Marsh is your prototypical wounded female cop with a young daughter and fretful mother at home, and a dead husband in her memory. (If her character had been male they'd have given her a bad temper and a drinking problem, but at least the sarcastic partner bit is gender neutral.) She gets put on the kind of case that (literally) only exists in the movies. Some psycho sets up a website called "Kill With Me" whose hook is that the more people view it, the quicker the subject on camera dies by some fiendish means. The first time out, it's a kitten; after that a person, and then another, and then another...

Continue reading: Untraceable Review

Perception Review


Grim
In too good of a mood today? Park yourself in front of Perception for 104 minutes and you'll be drinking yourself to sleep come nightfall.

As melodrama goes, Perception is filled to the absolute brim with it. What seems like it will start off as a lighthearted, quirky comedy soon becomes something entirely else. Piper Perabo stars as Jen (not "Jennifer"), who's just returned to New York after a failed stint at living in L.A. Here, we find her parents are in rapid mental decline. Her semi-girlfriend (Heather Burns) is clingy and, well, stupid. Her ex-boyfriend (Seth Meyers) keeps coming around. And then Jen, in one of the big "holy crap!" moments of cinema, gets run over by a truck.

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The Walker Review


OK
There are several things being chatted and whispered about in the backrooms, parlors and bars of Paul Shrader's Washington but nothing distinctive. The closest to a controversy comes when a few specific so-and-sos ruminate about a possible conspiracy involving the vice president and a dead escort. These events, however, doesn't seem to matter much in the grand scheme of things, and that is both a good thing and a bad thing in Shrader's latest film, The Walker.

As is explained by a pair of FBI agents, a walker is the title given to men who escort women of great importance (and elderly age) from here to there in the ladies' leisurely days of lunching and shopping. Like other men in his profession, Carter Page III (Woody Harrelson) has the breeding and education that the career demands and his taste in fashion and furniture is impeccable; he's also a flagrant homosexual. He shuttles away from his one-day-a-week job as a real estate insider to meet up with the likes of Lynn Locklear (Kristin Scott Thomas), the wife of a senator, and Abigail Delorean (Lily Tomlin), the wife of Washington's most powerful fixer (Ned Beatty).

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The Dead Girl Review


Good
With her debut feature Blue Car, Karen Moncrieff zeroed in on a troubled adolescent girl and a relationship with her favorite teacher; the film had the focus of a short story (a mixed blessing for a feature film). In The Dead Girl, her scope widens but that sharpness remains. The girl of the title is found in a field, and Moncrieff spends time with four women affected by her death: Arden (Toni Collette), who finds the body; the morgue attendant/student (Rose Byrne) who receives it next; Ruth (Mary Beth Hurt), the wife of a man who may know more about the death than he lets on; and a mother (Marcia Gay Harden) in town to identify a body.

Following these sideline characters, the screenplay circles the girl herself, a prostitute played by Brittany Murphy in a final, haunting segment. This structure eschews typical ensemble payoffs -- only a few of the characters intersect and they sure as hell don't learn valuable lessons from each other -- for its own subtle rewards. These narrative threads, never running over 20 minutes, are as close to short fiction as Blue Car, but the new film also has the unity of a fine, slim story collection.

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Light Sleeper Review


Good
Light Sleeper feels like a serious '80s film, though it was made all the way in 1992. It's a relic of the drug era, filled with a soulful performance from WIllem Dafoe (a conflicted upper-class dealer who wants to get out of the business), a synthesizer score, and virtually no scenes set during the day. Susan Sarandon and Dana Delany also look straight outta 1983, with a bouffant hairdo and a close-cut Jane Wiedlin cut, respectively. As for the film, it's more hit than miss, and Dafoe's earnest portrayal carries the movie through its rockier, less sensical parts. Worth a look.

The World According to Garp Review


Weak
This film, the second in Williams' career, has an interesting start, tracing the life of a young bastard with a stern nurse for a mother. But when mother becomes a feminist icon and people start getting shot, Garp gets a little preachy -- okay, a lot preachy -- and ultimately loses its charm.

The Family Man Review


Good
Just in time for Christmas comes a story worthy of both Ebenezer and Jimmy Stewart, with Wild at Heart's Nicholas Cage cast in the role of the out of touch rich guy. Jack Campbell (Cage) is not a bad man. He's not even a callous man. He's just a regular guy who happens to believe that millions of dollars, a beautiful blonde lover, and a Ferrari in the garage are ample compensation for whatever he may be missing in the way of mediocre suburban living.

But when this good-natured Wall Street mega-titan puts his life on the line to save a convenience store from a firefight, he makes a big mistake. Because that kid with the pistol (Don Cheadle) is no ordinary hoodlum -- he's some kind of wacky angel or ghost-of-Christmas-in-a-parallel-universe or something. And little does Jack know, as he lay himself down to sleep on Christmas Eve, that he'll wake the next morning to the life he could've had if only he'd married his college girlfriend (Téa Leoni, Deep Impact) instead of following his ambition to become one of the world's richest, most powerful men.

Continue reading: The Family Man Review

D.A.R.Y.L. Review


Good
Do guilty pleasures get any more guilty or any more pleasurable than 1985's D.A.R.Y.L., the famed robo-kid flick?

I think not.

Continue reading: D.A.R.Y.L. Review

Mary Beth Hurt

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