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    Profanity at Its Greatest

    The great Dom Hemingway shows off rude, crude and lewd Jude Law

    Alex Bentley
    Apr 18, 2014 | 10:40 am
    The great Dom Hemingway shows off rude, crude and lewd Jude Law
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    Jude Law has played a variety of roles in his career. Occasionally he’s ventured over to the dark side, but his appeal has mostly come from playing dapper and/or proper characters, as befitting any good Englishman.

    Dom Hemingway tears that reputation to shreds, as it starts with a long soliloquy by Law about his character’s, shall we say, manhood, and it only gets better from there. Law plays Hemingway, a safecracker who took the fall for the sake of his boss, and who’s finally getting out of jail after 12 years.

    In this sledgehammer of a role, Law, with the help of a Cockney accent, chews the scenery with great gusto.

    Now that he’s out of jail, he’s looking to catch up with his best friend, Dickie (Richard E. Grant); get restitution from his boss, Mr. Fontaine (Demian Bichir); and hopefully reconcile with his daughter, Evelyn (Emilia Clarke), who was a teenager when he went away.

    However reckless he was before he was convicted, prison has only seemed to intensify those urges, as he wastes no time trying to rectify the wrongs done to him. The only problem is that the world has changed a lot in Hemingway’s absence, and his cocksure demeanor doesn’t necessarily work as well nowadays.

    Writer/director Richard Shepard has made a film that’s like a blend of Guy Ritchie and Quentin Tarantino, with all of their highs and almost none of their lows. It’s a relentlessly profane movie, but hilariously so; nearly every expletive is in service of a joke or setting up a joke, so none feels like overkill.

    The only slight issue the story encounters is a shift in tone toward the end, where Shepard tries to soften Hemingway’s bluntness. Characters are certainly allowed to change over the course of a film, but Shepard doesn’t allow enough time for the transition and speeds up the process a tad inelegantly.

    The film is far and away a showcase for Law, and he gives it everything he’s got. His subtle performance in The Grand Budapest Hotel is juxtaposed with this sledgehammer of a role in which he, with the help of a Cockney accent, chews the scenery with great gusto. He has the audience laughing from his very first line and almost never lets up.

    Some may look for more substance from this kind of film, but for me, this is about as entertaining a time as one could hope for in a movie theater. Dom Hemingway is rude, crude and lewd, and I loved every minute of it.

    Jude Law and Richard E. Grant in Dom Hemingway.

    Jude Law and Richard E. Grant in Dom Hemingway
    Photo courtesy of Fox Searchlight Pictures
    Jude Law and Richard E. Grant in Dom Hemingway.
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    Movie Review

    Marty Supreme cements Timothée Chalamet as his generation's movie star

    Alex Bentley
    Dec 23, 2025 | 11:23 am
    Timothée Chalamet
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    Timothée Chalamet

    In a time when true movie stars seem to be going extinct, Timothée Chalamet has emerged as an exception to the rule. Since 2021 he has headlined blockbusters like the two Dune movies and Wonka, and also got nominated for an Oscar for playing Bob Dylan in A Complete Unknown (his second nomination following 2018’s Call Me By Your Name). Now, he’s almost assured to get his third nomination for the stellar new film, Marty Supreme.

    Chalamet plays Marty Mauser, a world-class table tennis player living in New York. But reducing Marty to his best skill doesn’t do him justice, as he’s also a motormouth schemer who will do almost anything to achieve his dreams. He doesn’t have any qualms about wooing married women like neighbor Rachel (Odessa A’zion) or actress Kay Stone (Gwyneth Paltrow), or hiding his true ping pong skills to win money in scams with friends like Wally (Tyler the Creator).

    Marty is seemingly on the go the entire movie, whether it’s trying to convince Kay’s millionaire husband Milton Rockwell (Kevin O’Leary) to fund his table tennis ambitions; or trying to track down the dog of Ezra (Abel Ferrara), a man he accidentally injures; or trying to avoid the ire of the boss at the shoe store where he works. Just when you think he might slow down, he’s off to the races on another plan or adventure.

    Directed by Josh Safdie and written by Safdie and frequent co-writer Ronald Bronstein, the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives, and yet the throughline of Marty keeps everything tightly connected. His particular type of brash behavior turns much of the film into a comedy as he does and says things that are both shocking and thrilling.

    Another thing that makes the movie sing is the fantastic characterization by Safdie and Bronstein. Almost every person who is given a speaking line in the film has a moment where they pop, which speaks to airtight dialogue that the writers have created. Characters will be introduced and then disappear for long stretches of time, and yet because they make such an impression the first time they’re on screen, it’s easy to pick up their thread right away.

    Safdie, as he’s done previously with brother Bennie (Uncut Gems), calls on a host of well-known non-actors or people with interesting faces/vibes to inhabit supporting roles, and to a person they are crucial to the film’s success. O’Leary (of Shark Tank fame), rapper Tyler the Creator, director Ferrara, magician Penn Jillette, and fashion designer Isaac Mizrahi each deliver knockout performances. The relative unknowns who play smaller roles are just as impressive, making each beat of the film feel naturalistic.

    Leading the way is the powerhouse performance by Chalamet. For one person to believably play both the famously reserved Dylan and also a firecracker like Marty is astonishing, and this role cements Chalamet’s status as his generation’s movie star. A’zion is a rising star who gets great moments as Marty’s on-again/off-again love interest. Paltrow pops in and out of the film, lighting up the screen every time she appears. Fran Drescher as Marty’s mom and Sandra Bernhard as a neighbor also pay dividends in small roles.

    Josh Safdie’s first solo directorial effort is unlike any other movie this year, or maybe even this century. Thanks to its breakneck storytelling, a magnificent performance by Chalamet, and countless intangibles that Safdie employs expertly, the film smacks viewers in the face repeatedly and demands that they come back for more.

    ---

    Marty Supreme opens in theaters on December 25.

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