Not exact matches
Praised be thou in peace, 0 Lady
of the West, The
Mistress that
turns herself toward mercy!
Learning
of the plan, the jilted wife (Julianne Moore) tells the
mistress -
turned wife Maggie (Greta Gerwig): «Have the decency to leave him and face the fact that you poisoned my life and my children's life and probably John's life, with your own selfishness.
He has
turned the debate on an iconic right
of centre policy (inheritance tax), stymied plans for a 2007 election, prised open important new debates on tax complexity and green taxation and even managed to win the favours
of the Prime Minister's erstwhile
mistress, Miss Prudence.
These mobsters,
mistresses and their surrounding Broadway types — especially Dianne Wiest giving one
of the greatest ever Oscar - winning performances — are a hoot to spend time with, as are the New York crazies that populate Deconstructing Harry, a film that sails along nicely until it
turns into a curiously wooden (hah hah, right!)
Frances Ha used its quick cuts like punchlines;
Mistress America does plenty
of that (it's quick, coming in under 90 minutes) but also stages a bravura, extended farce sequence in the Connecticut suburbs that
turns its snappy dialogue into a symphony
of wit and movement.
Although Baumbach and Gerwig didn't intentionally set out to
turn «
Mistress America» into some kind
of companion piece to «Frances Ha,» they did want to tell a story with the same sort
of framework, at least when it comes to its central characters.
Another refreshing aspect
of Baumbach's Gerwigification is that both Frances Ha and
Mistress America are primarily about the relationship between women (though Baumbach points out that Margot at the Wedding also
turns on the frayed bond between sisters).
Racing around Rome in a flashy sports car, wearingsunglasses after dark and ducking the paparazzi at every
turn, he juggles theattentions
of his leading lady (Nicole Kidman), his wife (Marion Cotillard) andhis
mistress (Penelope Cruz).
It is left to Johnson and Dornan to rescue what they can from such sexual oblivion and whilst Johnson is a revelation as the innocuous student
turned sexually curious
mistress, Dornan struggles to connect with dual characteristics
of Grey, failing to strike a balance between charismatic businessman and sadistic Dominant.
The sexual tension between a curly - haired, side - whiskered Doc and the former prom queen -
turned aspiring hippie starlet -
turned kept woman is palatable, and fuels the fiction, yet, as any respectable PI, Doc meets a lot
of available ladies throughout, whether he beds them or not: Jena Malone (a classic California blonde with a sordid heroin past), Reese Witherspoon (a hard - as - nail but o so classy deputy D.A.), Maya Rudolph (too sexy to be «just a receptionist»), Hong Chau (an employee
of the «Chick Planet» massage parlour, who warns him about the Golden Fang gang), newcomer Sasha Fenway (as Japonica Fenway, a poor little rich girl who can't find enough mischief to commit), Yvette Yates (as the hot Chicana maid who thrusts her butt in Doc's direction while serving drinks to her
mistress), Joanne Newsom (as the elusive Sortilège) and the fabulous Jeannie Berlin as Doc's I - know - it - all formidable auntie.
Mere months after her breakout role opposite Chris O'Donnell in «Circle
of Friends,» Minnie Driver briefly
turned up in «GoldenEye» — playing Russian gangster Valentin Zukovsky's
mistress and unglamorously warbling Tammy Wynette's classic «Stand By Your Man.»
Jill
turns out to be a shrewd, resourceful amateur sleuth, and Kirke (
Mistress America) proves again to be a low - key but clever actress; there's a funny scene
of Jill imitating another, ditzier personal assistant to learn the whereabouts
of a potential suspects.
Penned by Eric Singer, the film will tell the true story
of a famed financial con artist (Bale) and his
mistress / partner in crime (Adams) who were forced to work with an out
of control federal agent (Cooper) to
turn the tables on other con artists, mobsters and politicians.
Nerissa knew about the conception
of the baby and felt she was doing a «good
turn» to her
mistress by eliminating the baby and hopefully perishing the trauma associated with the pregnancy and birth.
Recent exhibitions organized by the PMA include The
Mistress and the Muse: Selections from the Isabelle and Scott Black Collection (2017); Artist's Choice: Photographs from the Collection
of Judy Glickman Lauder (2017); Of Whales in Paint: Rockwell Kent's Moby - Dick (2016); Unbound: Tim Rollins and K.O.S. (2016); Duncan Hewitt: Turning Strange (2016); and Georges Braque: Surface and Space (2016
of Judy Glickman Lauder (2017);
Of Whales in Paint: Rockwell Kent's Moby - Dick (2016); Unbound: Tim Rollins and K.O.S. (2016); Duncan Hewitt: Turning Strange (2016); and Georges Braque: Surface and Space (2016
Of Whales in Paint: Rockwell Kent's Moby - Dick (2016); Unbound: Tim Rollins and K.O.S. (2016); Duncan Hewitt:
Turning Strange (2016); and Georges Braque: Surface and Space (2016).
If both characters self - consciously construct elaborate rituals by taking
turns to portray master and servant while their
mistress Madame is away, then Mirren, who similarly flits between two different social classes to self - consciously construct her own personal identity, is seen taking
turns in Mellor's paintings to act each side
of the power divide.
He calls her a «
mistress of innuendo» and says that, when innuendo failed her, she
turned to non-existent evidence.