Edmond.

"In Edmond, William H Macy is perfectly cast as a prim Manhattan businessman who heeds his inner demons and plummets into free fall," writes Stephen Holden in the New York Times.

The Nation's Stuart Klawans discloses that he's worked with both director Stuart Gordon and David Mamet, who wrote the play ("probably as close as we'll get to an American Woyzeck") and screenplay, "So if you want a review by someone who has never been touched by talented people, please consult another critic. This one says that every moment of Edmond is extraordinary... There's exhilaration in seeing to the bottom of things you ordinarily don't even want to look at."

Updated through 7/17.

"[I]t's hilarious, and contains some of Mamet's best dialogue," writes Salon's Andrew O'Hehir. "[S]omehow, by making a racist, murderous, Everycreep his protagonist, Mamet is able to produce some of his most penetrating psychological and spiritual insights."

"Why did Mamet choose to keep his material tethered to a certain time and place, which so clearly saps its relevance?" wonders Ryan Stewart at Cinematical. Besides, "There are a few moments when [Gordon] makes Edmond feel like a slasher film that just happens to have a low body count."

IndieWIRE's set of questions goes out to Gordon this week. Related: At the main site, Jonathan Marlow and Patrick Mathewes's 2003 interview with Gordon is highlighted again.

Peter Smith talks with Macy for Nerve.

Online listening tip. David Edelstein's review for NPR.

Update, 7/17: Cinematical's Ryan Stewart talks with Bai Ling.

Posted by dwhudson at July 14, 2006 2:13 PM