movie film review | chris tookey
harsh reviews
An A to Z of the World's Deadliest Movie Reviews From Affleck
to Zeta Jones
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 
Shirley Maclaine
To read Shirley Maclaine’s autobiography is to encounter one of the most inflated airheads ever to break free of her moorings.
(John Preston, Sunday Telegraph)
The oars aren’t touching the water these days.
(Dean Martin)
Actress, Sweet Charity (1969)
I like Miss MacLaine, but one thing is certain: she's not touched by a stroke of genius. She is not a great actress, she dances only adequately, and her singing voice is pleasant without any trace of power or presence.
(Rex Reed)
Actress, Terms of Endearment (1983)
I didn't believe Shirley MacLaine for a moment as Debra Winger's possessive but emotionally inexpressive mama.
(Bruce Bawer, American Spectator)
Miss MacLaine, saddled with the year's most unflattering hairstyle, appears to be in training to become Hollywood's next Ruth Gordon. Her Aurora is a walking case of premature senility.
(Glenn Lovell, San Jose Mercury)
Actress, Steel Magnolias (1989)
Essentially a cat fight as to who gets the Oscar. Field emerges as the frontrunner with the biggest emotional breakdown scene. Unquestionably the most irksome pretence at character acting comes from MacLaine.
(Kim Newman, Film Review)
Actress, The Evening Star (1997)
Unwisely revisiting the role which won her an Oscar, MacLaine gives a performance of exasperating coarseness and egotism. There’s an exceptionally distasteful sexual liaison between MacLaine and Bill Paxton, playing a psychotherapist young enough to be her grandson. Yes, I know there’s a sexual double standard - Sean Connery does get away with wooing women a third of his age - but he still looks pretty good; MacLaine here has all the allure of Albert Steptoe.
(Chris Tookey, Daily Mail)
Actress, Closing the Ring (2007)
Shirley MacLaine would have been right for her role ten years ago, but time has not been kind to her. Her face now appears set in a sourness that seems at first to have something to do with her character Ethel Ann, but never changes, even when Ethel Ann belatedly mellows. For virtually the whole movie, she looks like a wizened old capuchin monkey in a wig – which makes it sadly impossible to see what her old flame still sees in her.
(Chris Tookey, Daily Mail)
Key to Symbols