Rebecca Pidgeon

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HBO's Annual Primetime Emmy Awards Post Award Reception

Rebecca Pidgeon and David Mamet - HBO's Annual Primetime Emmy Awards Post Award Reception at The Plaza at the Pacific Design Center - Los Angeles, California, United States - Sunday 22nd September 2013

Rebecca Pidgeon and David Mamet

Picture - Rebecca Pidgeon and David Mamet... , Sunday 2nd December 2012

Rebecca Pidgeon, David Mamet, Broadway, The Anarchist, Golden Theatre and Arrivals. New York City Sunday 2nd December 2012 Arrivals. New York City, USA

Rebecca Pidgeon, David Mamet, Broadway, The Anarchist, Golden Theatre and Arrivals. New York City
Rebecca Pidgeon, David Mamet, Broadway, The Anarchist, Golden Theatre and Arrivals. New York City

Picture - Rebecca Pidgeon at the Broadway... , Sunday 2nd December 2012

Rebecca Pidgeon, Broadway, The Anarchist, Golden Theatre and Arrivals. New York City Sunday 2nd December 2012 Arrivals. New York City, USA

Rebecca Pidgeon - Disintegration Man


Picture - Rebecca Pidgeon Los Angeles, California, Monday 7th February 2011

Rebecca Pidgeon Monday 7th February 2011 AARP The Magazine's 10th Annual Movies for Grownups Awards held at the Beverly Wilshire Hotel - Arrivals Los Angeles, California

Rebecca Pidgeon
Rebecca Pidgeon
Rebecca Pidgeon
Rebecca Pidgeon

Red Review


Weak
Based on the graphic novel, this action-comedy has a wacky tone that's entertaining but never involving. At least the strong all-star cast makes the most of the vivid characters, and the film's visual style keeps us watching even if there's nothing to it.

When "Retired, Extremely Dangerous" Frank Moses (Willis) has his quiet life disrupted by trigger-happy commandos he goes on the run, kidnapping a hapless pension clerk (Parker) to protect her from a ruthless high-tech hitman (Urban) who's chasing him. He then reassembles the old team from his black ops days, including smooth womaniser Joe (Freeman), paranoid nutjob Marvin (Malkovich) and seductive Victoria (Mirren). He even gets in touch with his former Russian nemesis Ivan (Cox). It all has something to do with a scandal involving the American Vice President (McMahon).

Continue reading: Red Review

Picture - Rebecca Pidgeon Hollywood, California, Monday 11th October 2010

Rebecca Pidgeon Monday 11th October 2010 Special screening of Summit Entertainment's 'RED' held at The Grauman's Chinese Theatre Hollywood, California

Rebecca Pidgeon

How To Be Trailer


Watch the trailer for How To Be

Continue: How To Be Trailer

The Lodger Review


Terrible
Marie Belloc Lowndes' 1913 novel, The Lodger, based on the grisly Jack the Ripper killings in turn-of-the-century London, has been grist for the movie pulp mill ever since its publication. Knockoff versions of the story trace the history of film, from Pabst's Pandora's Box and all the way to mad psycho James Spader in Jack's Back and Daffy Duck taking on the Shropshire Slasher in Deduce You Say. The most famous version of the novel itself was the first Hitchcock-style Hitchcock film, the 1927 silent The Lodger starring Ivor Novello, who later recreated his role in a 1932 sound remake. The most atmospheric version of the tale was John Brahm's 1944 Fox redux with the creepy Laird Cregar as the notorious murderer.

Now writer/director David Ondaatje has come along with a contemporary version of the story, updated to the mean streets of L.A. in 2009. And this new version of The Lodger also has atmosphere in spades.

Continue reading: The Lodger Review

Edmond Review


Grim
There's a slight chance, very slight, that David Mamet is a genius. As a writer, his blunt, edgy, and constantly interrupted dialogue has earned him a lot of weight, so much so that he is considered one of the more important playwrights of the last 25 years or so. As a director, he is precise and extremely-well calculated, if not a bit lacking in aesthetic substance and style. When he directs his own work, it tends to go remarkably smooth, as it did in the fantastic Heist and his best film, State and Main. However, when put in the hands of others, sometimes it goes exceedingly well (James Foster's Glengarry Glen Ross) or exceedingly bad (Michael Corrente's American Buffalo). The latest is a retelling of his play Edmond by King of the Ants helmer Stuart Gordon.On his way home from work, Edmond Burke (William H. Macy) decides to stop at a fortune teller. She simply tells him this: "You are not where you're supposed to be." This causes him to leave his wife (a brief Rebecca Pidgeon) and to go out on the town to get an old fashioned piece of tail, as suggested by a stranger at a bar (the reputable Joe Mantegna). He goes through strippers, booth girls and expensive call girls, played by a who's who of young actresses ranging from Mena Suvari to Denise Richards. He finally settles on a waitress (Julia Stiles) who he picks up after attacking a pimp and finding a newfound love for life. This passion, however, leads to a terrible act that lands him in jail and doing things that he was scared of before, constantly saying "every fear hides a wish."Mamet's sly style of writing somehow seems lacking here. In Glengarry, he wrote with blood and thunder about the rigorous work of real estate salesmen and in Oleanna, he split the sexual harassment debate so thinly that you couldn't see his opinion without microscope eyes. With Edmond however, he lays everything out for the audience and world to see, allowing the character to often pontificate on basic musings like what it's like to feel alive and the mundane nature of normal life. There is a serious lack of subtext that gives off the feeling of extreme annoyance.Gordon directs with a simple enough structuralism and he gives impressive terror to the climactic scene where Edmond goes over the edge. However, this simplicity also leads to a considerable loss in mood and atmosphere, which seems devoid after the excellent opening scene in the fortune teller's room. The actors, chiefly Macy and Stiles, struggle to keep the story afloat and exciting, but it's a losing battle. Reliable character actors like Bai Ling and Dylan Walsh (so good in Nip/Tuck) are given scant screen time to show their prowess, but Bokeem Woodbine works wonders as Edmond's bunkmate when he enters prison. None of this, however, allows Edmond to make more than a small ripple in the water. It's a fussy little movie that wants to be much more controversial and important than it is. Did I say those chances were very, very slight?The dead hooker's under the card in the middle.

The Winslow Boy Review


Extraordinary
David Mamet scores again, and in the unlikeliest of films.

I've known and respected Mamet's directorial work since the gritty House of Games (1987) and have remained a fan through last year's The Spanish Prisoner. Without fail, Mamet works on gritty, hard-edged con-artistry-related flicks like these. So it's with no small amount of skepticism that I greeted the G-rated Winslow Boy.

Continue reading: The Winslow Boy Review

State and Main Review


Extraordinary
In order to see one of 2000's real treasures, most of you are going to have to wait until January of 2001, when the masterful State and Main comes to a theater near you.

State and Main, written and directed by David Mamet (The Spanish Prisoner, The Winslow Boy, House of Games), follows a Hollywood film crew into the sleepy town of Waterford, Vermont, for the shooting of a would-be blockbuster. William H. Macy plays the director -- part ballbuster, part smooth-talker -- who comes to Waterford after the production kicked out of another lost-in-the-past New England locale.

Continue reading: State and Main Review

Heist Review


OK
David Mamet is a good director. Mamet's an even better screenwriter and playwright. The guy's authored some of the best film and theatre works in the past decade -- The Verdict, House of Games, Wag the Dog, State and Main, and the guy even won a Pulitzer Prize for his play Glengarry Glen Ross. With that said, it's such a shame that his latest crime caper, Heist, falls apart by employing too many of the well-known devices of a Mamet production -- double-crossing femmes fatale, overtly memorable characters, and deceptive plot lines.

But movies like The Spanish Prisoner, Things Change, and The Winslow Boy display a roundness to Mamet's innate abilities. And it's almost a crime to witness how all of that goes awry in his latest film, Heist.

Continue reading: Heist Review

The Spanish Prisoner Review


Extraordinary
"What I learned while watching The Spanish Prisoner," by Christopher Null.

1. Don't trust nobody.

Continue reading: The Spanish Prisoner Review

The Winslow Boy Review


Excellent

OK, let's just get this part out of the way right now:Who'd have imagined David Mamet -- that controversial master of brash,profanity-laced male head-butting -- could (or would even want to) directa G-rated masterpiece about the prim and proper society folk of EdwardianEngland?

Best known for his dialogue-driven, testosterone-saturatedstage plays ("Glengarry Glen Ross") and screenplays ("TheEdge"), Mamet seems the most unlikely directorfor a project such as "The Winslow Boy," a deceptively simpledrawing room drama about a family defending its sacred honor to the financial,emotional and medical detriment of its members.

The film is adapted from Terrence Rattigan's 1946 play-- loosely based on real events -- about the pursuit of justice for anupper-crust 13-year-old boy kicked out of a prestigious private schoolfor stealing a five schilling postal order.

Continue reading: The Winslow Boy Review

Rebecca Pidgeon

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