as mentioned in His movie career went into high gear when he met Joel and Ethan Coen, who have cast him in six of their dark comedies.
In their 1940s Hollywood fable Barton Fink (1991), Goodman played Charlie Meadows, a lonely lost soul whose gentle demeanor conceals a boiling volcanic lake of homicidal rage.
For his varied career, Goodman will be honored by the Hollywood Chamber of Commerce with a star on the Walk of Fame on Friday, the same day Warner Bros. debuts Kong: Skull Island, in which Goodman stars with Brie Larson, Tom Hiddleston and Samuel L. Jackson.
John Goodman is that rare character actor with more screen charisma than most leading men, moving gracefully between comedy and pathos, mischief and menace.
There is great emotional delicacy in his work, too, possibly rooted in his real-life struggles with alcoholism and depression.
As it stated in While I’d prefer a more serious meditation on the monster known as Kong, I understand the reasoning behind making “Kong: Skull Island” a little goofy.
I liked “Skull Island,” but the post-credit scene had me more excited than anything in the actual movie.
Review: If you’ve watched any of the trailers for “Kong: Skull Island,” you’re probably aware that the film’s tone is somewhat inconstant as it pairs peril with comedy.
The difference here is that “Skull Island” does it more often.
“Skull Island” tries to be a bit of both as it offers state-of-the-art effects and a script that refuses to take itself seriously.
What to see this weekend: ‘Kong: Skull Island,’ ‘Personal Shopper’ and more
As it stated in Who doesn’t have a soft spot for beloved havoc-creator and peace-destroyer King Kong, misunderstood before it was fashionable, the beast that beauty killed once upon a time?
A fan favorite for combining ferocity with sensitivity since his 1933 debut opposite Fay Wray, the great ape survived assignations with Jessica Lange and Naomi Watts and returns to the big screen one more time in “Kong: Skull Island.”
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It is also, first and foremost, a testament to the eerie powers of Kristen Stewart , a movie star who has now twice pulled off the trick of chipping away at her celebrity and redefining the boundaries of her talent in the same instance.
The movie is a quietly profound portrait of grief and loss, and perhaps writer-director Olivier Assayas’ most surprising attempt yet to grapple with the anxieties of modern life — a global condition in which strange new connections are forged and seemingly rigid boundaries are violated.
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