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Review: Doubt

Nun story
By CAROLYN CLAY  |  January 12, 2009
2.5 2.5 Stars

Hoffman gives as good as he gets, playing the male-hierarchical card with assured arrogance while at the same time nursing, somewhere behind the full lips, graying gold, and tangled eyebrows, a secret sorrow. Simpler is the loss of innocence undergone by unintended whistle blower Sister James, who's so expressively portrayed by Amy Adams that she hardly needs lines. And Viola Davis as Donald's mother, conveying in one scene all the anguished pragmatism her cloistered counterparts are allowed to float above, however violently they swat their wings, will both jar and break your heart.

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Related: Review: Marley & Me, Review: Theater of War, Face off, More more >
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ARTICLES BY CAROLYN CLAY
Share this entry with Delicious
  •   NO COUNTRY FOR OLD MEN  |  December 01, 2009
    Louis de Rougemont makes James Frey look like a documentarian. A sickly Victorian lad who arose from his cot, knocked around the Southern Hemisphere for a while, and returned to England with a hifalutin new moniker and captivating tales of seafaring perils and aboriginal idylls, he was the subject of a popular serialized autobiography.
  •   LINCOLN YULE LOG  |  November 24, 2009
    Abraham Lincoln, as he said in his second inaugural address, yearned to "bind up the nation's wounds." Since the great man was assassinated little more than a month later, he didn't quite get around to it. No worry, Paula Vogel has taken over the job with A Civil War Christmas: An American Musical Celebration.
  •   DODGING DEATH  |  November 18, 2009
    Even the sweetest life can shatter in an instant, sending you through the looking glass like Alice. For the euphoric heroine of Craig Lucas's 1988 fable of holiday festivity and arbitrary mayhem, Reckless the moment of reckoning comes when her husband tearfully confesses, on Christmas Eve, that he has taken out a contract on her life.
  •   MARS VS. VENUS  |  October 28, 2009
    It’s been 21 years since Speed-the-Plow first milked the cravenness of Hollywood and the self-described “whores” who turn its celluloid tricks. But David Mamet’s scathing, staccato comedy has held up at least as well as Madonna, who made her Broadway debut in the original 1988 production.
  •   ONLY CONNECT  |  October 20, 2009
    Usually when a cell phone goes off in the theater, you want to kill someone. In the case of Dead Man’s Cell Phone , that’s not necessary.

 See all articles by: CAROLYN CLAY

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