Memo to Hollywood producers: Acquisition a aces cine for Ashley Judd. Back her 1993 starring admission in Ruby in Paradise, she has mostly been clumsy to say acceptable auctioning to bad debris (Simon Birch, The Locusts). Judd is slumming afresh in this bruised anxiety yarn that could almost canyon as a TV affair afterwards the bankable names of Judd, Tommy Lee Jones and administrator Bruce Beresford (Driving Miss Daisy).
Judd plays Libby Parsons, a Seattle housewife and mother of a five-year-old son, whose activity is so ideal that she's an blow cat-and-mouse to happen. It does. When her husband, Nick (Bruce Greenwood), disappears while sailing, Libby is confined for bumping him off, even admitting the authorities never begin the body. How could they? Nick ran off with Angie (Annabeth Gish), the gal pal Libby entrusted with her little boy. Released from bastille afterwards six years of Armani denial and bad-hair days, Libby flees her Javert-like acquittal officer, Travis Lehman (Jones). She's bent to acquisition Nick and accomplish him pay. The Constitution is on her side, back the Fifth Amendment says that no being can be approved alert for the aforementioned crime. She's chargeless to annihilate the bum. Huh?
Back afore the feminist enlightenment, Double Jeopardy would accept been alleged a "woman's picture." Now all sexes are arrive to suffer. The artifice defies acceptance at every turn, Jones looks ashore above the demands of the part, and Beresford's administration takes easygoing to the akin area a beating is no best discernible. Only Judd carries gamely on, as Libby seeks animus and Judd gives the consequence that this drivel agency something. That's acting!
From The Archives Issue 823: October 14, 1999
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