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Watching one of her films is a tug-of-war filled with both appreciation and irritation.
Objectively I can see just how good a performance Keener gives here (something evident to anyone watching). Maxine’s never less than alert to her surroundings and ready to manipulate any sad interlopers who infiltrate them to her advantage.
I've never had any trouble loving Keener - along with people like Julianne Moore, Emmanuelle Devos and Juliette Binoche, she's one of the actresses whose performances I most look forward to.
While I thought she was solid and weirdly resonant in Capote, I agree that she did infinitely superior work in The Forty Year Old Virgin.
I don't understand how you could not like her at first (although this happens to me with some actors, it could never happen with Keener).
I think she's great but agree on that Capote nomination. Let's pretend she got it for The 40 Year Old Virgin Loving the spotlight on 40-year-old Virgin. Too bad she doesn't get those roles more often.
Instead of the usual youth-orientated teen-love tribulations, here was a grown-up love story with infinite good will and a smattering of kind-heartedness.
I’d say that Keener worked harder in creating a fully-fleshed-out performance from an original script here than she did with the real (and therefore easily-researchable, yet ultimately rather two-dimensional) figure of Harper Lee.
Her romantic scenes with Steve Carell made for some of the most refreshingly amiable, out-of-the-blue moments in a rom-com in years.(1999) Do you think it’s possible to admire an actress’ immense talent yet still be somewhat immune to her overall allure or effectiveness?Or perhaps it’s fair to acknowledge their greatness, but have issues with many of their performances?We can’t go back in time and alter the Oscar voters’ minds, but we can recalibrate our viewing habits and put our hearts and funny-bones first to celebrate Trish more.Take Three: is Keener’s most fully-rounded, intricate and emotionally spot-on performance to date. There’s an built in disparity, an imbalance, within Keener’s trendy-antiques dealer Kate: she repossess the recently-deceased’s wares and sells them on at a higher mark-up (like , Keener’s again selling other people’s stuff), yet she also doles out any spare change she has to New York’s homeless without a second thought.