#phyllis somerville

[abs0luteb4stard]

W A T C H I N G

I haven't seen this in about 10 years. My mom has never seen it.

[howardhawkshollywoodannex]

Jackie Earle Haley as Ronnie McGorvey and Phyllis Somerville as his mother May in Little Children (2006). Jack was born in Northridge, southern California, and has 63 acting credits from a 1972 episode of The Carol Burnett Show to two 2023 films. Little Children was his first acting credit since 1993.

His other notable credits include a voice on 11 episodes of Wait Till Your Father Gets Home (1972), episodes of The Partridge Family, Marcus Welby MD and The Waltons, The Day of the Locust, The Bad News Bears, The Bad News Bears in Breaking Training, The Bad News Bears Go to Japan, Breaking Away, The Love Boat (two episodes), All the Kings Men, Shutter Island, A Nightmare on Elm Street, Lincoln, The Tick (12 episodes), and Narcos: Mexico (2).

[bkenber]

All-Time Favorite Trailers: 'Little Children'

A lot of movie trailers are scored with certain kinds of music to where certain themes are used over and over in them such as the ones from “Black Rain” and “Requiem for a Dream.” But for the “Little Children” trailer, however, the images we see are instead scored to the sound of a locomotive train which is about to reach its desired destination, and it proves to be the perfect illustration of…

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Little Children (2006)

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Little Children (2006) Todd Field

September 4th 2021

[genevieveetguy]

Benjamin, we're meant to lose the people we love. How else would we know how important they are to us?

The Curious Case of Benjamin Button, David Fincher (2008)

[kwebtv]

The Big C  -  Showtime  -  August 16, 2010 – May 20, 2013

Comedy / Drama (40 episodes)

Running Time:  30 minutes (season 1-3) / 60 minutes (season 4)

Stars:

Laura Linney as Cathy Jamison

Oliver Platt as Paul Jamison

John Benjamin Hickey as Sean Tolkey

Gabriel Basso as Adam Jamison

Gabourey Sidibe as Andrea Jackson (Season 3-4, recurring previously),

Phyllis Somerville as Marlene (Season 1, recurring afterward)

[tribeca]

“There is a unique and heartening thrill in watching an actor often shunted to the sidelines of films and TV shows finally obtain the spotlight she has been denied throughout her career. Such is the sensation of watching Mary Kay Place in Kent Jones’ Diane, a portrait of a worn out Massachusetts woman whose enduring sense of charity mirrors Place’s characteristic generosity as a performer who has tirelessly aided her fellow actors in countless projects, on the big screen and small, for over 40 years. Place’s Diane is the unwavering focus of the drama that bears her name, an emotional and psychological pilgrimage through the final winters of an aging, self-punishing caregiver prone to attending to everyone’s needs but her own. There is little flash to Place’s performance, which is consonant with Diane’s shrinking persona, the determined, tight-lipped, head-down reticence that only collapses when in the presence of her adult son (Jake Lacy), a hopeless addict whose irresponsibility enrages Diane to no end. Even when Diane reaches the end of her rope in these squabbles or in another quick-tempered quarrel with an insensitive volunteer at her local soup kitchen, Place never implores the audience for easy, uncomplicated sympathy; instead, she earns our rapt consideration by standing steadfast in the honesty of her minimalism, a mark of both her professionalism and her artistry. The actress is assured enough in her ability to touch upon a vast reserve of life experience to illuminate Diane’s inward struggle. She doesn’t strain for the teary, self-serving catharsis that would diminish the quiet desperation of the character’s circumstances, which Place seems to feel from the inside and exquisitely personifies with endless variations on exhaustion, agitation, and insuperable soul-sickness. By staying true to Diane, Place ensures that we are with the character every step of the way and gives depth to the type of woman who may move unknown through our daily lives but is far from unknowable.

Jones’ film makes room for plenty of splendid, underused veterans in addition to Place, among them Andrea Martin, Estelle Parsons, Phyllis Somerville, and, best of all, Deirdre O’Connell, a superb actor of stage and screen who usually resides even further on the margins of her projects than Place does in hers. O’Connell, a ringer who has been called upon many times to complement thankless parts, absolutely nails her small but significant role as Donna, Diane’s dying cousin, who has forgiven but not forgotten a betrayal in their shared past and refuses to flatter Diane in her final days. Delivering her entire performance from a hospital sickbed, O’Connell conveys tough wisdom with an authoritative whisper and the uncanny ease of someone made acutely aware that time is no longer on her side. When the character slips away, O’Connell’s powerful, straight-talking integrity, a force that supersedes her mortal frailty, weighs heavily over the film that follows, a phantom presence impossible to leave behind. In just a few scenes, the actress imparts the unmistakable and unfading impression of a life actually lived and lost.” — Matthew Eng

The 12 Best Female Film Performances of Early 2019

(Source: TribecaFilm.com)