He is anything and anyone you require him to be, and you get the sense that he’s just happy to be in a position to oblige such directorial desires.Īny chance, then, that we get to talk about Richard Jenkins is a good thing. Jenkins excels at playing the man you would underestimate most, until it’s too late. A simple spinal adjustment later, he’s the stern patriarch ( Six Feet Under). Slightly hunched, he exudes a profound air of quiet desperation ( Olive Kitteridge). With his unassuming frame and inscrutable face, the 73-year-old can easily play the sleaze ( Killing Them Softly, The Cabin in the Woods), the confidant ( Eat Pray Love), the doofus ( Burn After Reading) or the blowhard ( Step Brothers). The long-time character actor, who got a boost in 2009 thanks to his Oscar nomination for The Visitor and another in 2018 for The Shape of Water, is easily one of the most prolific performers of his generation, and for good reason. Which is both good and bad news for fans of Richard Jenkins, who happens to star in both. So while I sincerely hope that Kajillionaire and The Last Shift, this weekend’s fresh sacrifices to the gods of theatrical exhibition, will somehow reverse course and make millions, I’m skeptical. I’ve always wanted these kinds of original films to receive as marquee a multiplex placement as the latest Avengers or Jurassic Park adventure. Which is exactly what’s happening to low-stakes and generally excellent fare such as The Nest, The Personal History of David Copperfield and The Broken Hearts Gallery – all “now playing,” though good luck if you can find someone who has taken cinemas up on the offer.
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