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The Beast | Review About Elizabeth

Part of “Old Info And News”

the beast photoshoot elizabeth mitchell (2).jpgAnyone who can hold her own opposite Angelina Joliet has to be good. Mitchell did exactly that when she played Jolie’s lover in the HBO movie Gia.

Since then she’s co-starred with Dennis Quaid in the surprise hit Frequency and appeared in Nurse Betty with Renee Zellwegger. Not too shabby for a girl from Dallas. Plus, she played the much loved Linda McCartney in a made-for-TV biopic and lived to tell the tale. In ABC’s The Beast she is the audience’s entree into the media machine when she’s recruited to join a news organization intent on putting her right in the middle of the stories she covers. We’re betting she’ll make it look like a cake walk at the church bazaar.

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The Beast | US Weekly Rerview

Part of “Old Info And News”

US Weekly gives ABC’s The Beast Two Stars.

the beast photoshoot elizabeth mitchell (2).jpgThe Beast

ABC Wednesdays 10pm | Series Premiere, June 13

The over-the-top premiere episode of this ensemble drama really piles on the goodies: a mad bomber, a televised execution in the electric chair, a nude scene featuring Elizabeth Mitchell (the lovely lesbian from both ER and HBO’s Gia). She plays Alice Allenby, a magazine writer who is persuaded by mogul Jackson Burns (Frank Langella) to work for his new 14-hours news channel.

As one character explains, the call the channel the Beast “because it’s always hungry.”

You can tell the staff is hip because anchor Reese McFadden (Jason Geddrick) doesn’t shave, drinks whiskey at office meetings and talks like Dennis Miller with worse gag writers. The premiere is so frenetic that you can overlook the yadda-yadda about media power (“The camera is God”).

Adding to the journalistic navel-gazing is the channel’s odd polity of broadcasting its inner workings live on the Internet via feeds controlled by a mysterious figure Harry. (“Harry is God,” says Burns, which means, logically, that Harris is the camera.)

Source: US Weekly, June 11-18


Elizabeth Mitchell - Old Info And News - Projects - Reviews - The Beast
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The Linda McCartney Story | Variety Review

Part of “Old Info And News”

elizabeth_mitchell_the_linda_mc_cartney_story_28129.jpg[…] As Linda, Elizabeth Mitchell is especially strong in the early going, and the telepic manages a nice balancing act. Linda sleeps with rock stars, falls immediately in love with Paul and takes an active role in pursuing one of the most famous men in the world, yet she always comes off as totally genuine. So many telepics take their primary subject and put them into a passive role — more acted upon than acting. The first half of “The Linda McCartney Story” avoids this trap, and the film moves along at a rapid pace, interweaving the couple’s early years together and the later times when Linda discovers her cancer. […]

[…] Mitchell does her best to show Linda’s stern-faced determination. […]

[…] Mitchell and Bakewell — who also played McCartney in the film “Backbeat” — capture enough chemistry to make the overall romance work. […]

Full review after the break.

Read more…


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Absolution | LA Times Review

Part of “Old Info And News”

absolution elizabeth mitchell.gifSeeking ‘Absolution’ for a Long-Ago Crime
Theater Beat

On a summer day in 1995, David (Matt Letscher) receives a message from an old high school friend, Gordon (Jonathan Scarfe). Handed the queen of spades, David imagines within the card the haunted face of a woman he’s seen only once.

Quitting his dead-end job as a newspaper proofreader, David returns to his hometown of Vancouver to meet with two old friends in this sleek production of Robert William Sherwood’s psychological thriller “Absolution,” at the Court Theatre.

Once the golden boy, David has become a loner locked inside “a state of moral purgatory.” Gordon, now a ruthless rich businessman with an icy trophy wife (Elizabeth Mitchell), tells him that another friend, born-again Christian Peter (Christian J. Meoli), is seeking absolution, asking them to publicly confess their crime–the brutal rape and murder of an unidentified woman during a drunken party 15 years ago.

Director Willard Carroll’s interpretation is so cold and intellectual that the ending comes as too much of a surprise. Letscher and Mitchell move and mouth their lines with impassive grace against Scarfe’s fiery bluster and Meoli’s whining guilt.

The stark lines of Jim Dultz and Pipo Wintter’s minimalist set suggest a bleakness that is given a seductive appeal by the lighting design of Vilmos Zsigmond and Robert Jason.

Despite the faults, the disturbing question of a world without belief–where the Bible is mere “hearsay”–is still hauntingly evoked by this stylish production.

Source: LA Times


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