![]() ![]() Goggins has played all sorts of characters in his career, including heavies, and he’s capable of giving wild, scene-stealing turns as well as the type of performances that shrink into the background. He just seems like an average person living his life. We’re told that he loved someone once, briefly, but that she died. He lives on the family farm and has slowly built a beautiful house with his own hands. While Donnie has continued to perform at local bar gigs with his wife (Zooey Deschanel), Joe, who played drums on the original album, has been mostly stagnant all these years. But it’s Goggins who draws you in with his quiet performance as Joe, the other brother. He gets to do the capital- A acting in this one. Casey Affleck, as Donnie, the singer-songwriter who drives much of the brothers’ music, is talented enough to make the clunky, on-the-nose dialogue work - sometimes. The story is interesting, to be sure, but Pohlad’s script is ham-handed and obvious - so much so that it can often take you out of the film. #Village its very village voicey movieThe movie is … well, it’s not exactly great. (The film is based on a 2016 article by Steven Kurutz.) ![]() But their lives had changed, and the psychological and financial damage of their thwarted dreams had already been done. Dreamin’ Wild was rereleased and got an 8/10 rating on Pitchfork, and suddenly the Emerson brothers found the acclaim and fame they’d longed for as kids. But in 2008, a record collector in Spokane rediscovered the album, and it started spreading in the right indie circles. Independently recorded in a studio their father had built for the kids on the family farm, the album did zero business and disappeared. This time, it’s the story of Donnie and Joe Emerson, two brothers from Fruitland, Washington, who as teenagers in 1979 put out a lovely little album called Dreamin’ Wild. Here, Pohlad has found another true-life music-industry story about family and the slippery nature of success. Goggins is here this year with a film called Dreamin’ Wild, written and directed by Bill Pohlad - director of 2014’s Brian Wilson biopic Love & Mercy. But it can be refreshing sometimes, amid all these alpha-dog master thespians, to see someone quietly yank our heartstrings by simply being present and, seemingly, not doing much at all. For the most part, they’ve earned their hosannas. These actors gesticulate, they scream, they cry, they die (sometimes), and they make us cry. Brendan Fraser is 600 pounds in The Whale. Timothée Chalamet is a country-boy cannibal in Bones and All. Hugh Jackman is a grieving father in The Son. ![]() Ana de Armas is Marilyn Monroe in Blonde. Venice has been filled with lots of big, bold, showy turns that scream, “Look at me!” Cate Blanchett is the greatest conductor of our time in Tá r. ![]() And the glitzy, fan-clogged, red-carpet milieu of a film festival in September often seems like the perfect showcase for them even when the films themselves are not glamorous at all. (Amid the ongoing arms race of standing ovations, it can still be hard to tell which films will actually resonate with audiences and awards bodies and go the distance, especially with Toronto and New York and the holiday-movie season still on the horizon.) But the acclaim-bound performances - those you can spot a mile away. In the process, it has also become a launching pad for major award-season performances. The Voice’s music critic, Maura Johnston, also announced she is leaving the paper today in a note on her Facebook page.In the past few years, the Venice International Film Festival has become more of a launching pad for major award-season releases. Brennan, who got her start at Westword, the chain’s Denver weekly, earned her nickname after gaining a reputation as a harbinger of doom within the chain who appeared whenever management was set to execute cutbacks at one of their papers. Ortega’s fears increased after a late August visit from the executive managing editor of Village Voice Media, Christine Brennan, a.k.a. “Tony always went out of his way to privilege King and treat him glowingly.”Īnother source familiar with the beleaguered paper told us Mr. Hence Tony’s willingness to pretty much lick King’s asshole–he was hoping, it seemed, that this would be reciprocated positively by corporate,” the former staffer said. “Since James’s arrival, it’s been clear that Tony is afraid and saw that James had been sent in by corporate to keep an eye on him, and maybe even serve as his replacement. ![]()
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