George Clooney gazes ardently upon Catherine Zeta-Jones; she smoulders back at him; and the audience gawps at both of them We can't help it. There hasn't been a screen partnership this good-looking since Clooney and Julia Roberts in Ocean's Eleven, and before that since Clooney and Jennifer Lopez in Out Of Sight (There seems to be a pattern here). In his strongest bid yet to emulate the inhibited suavity of Cary Grant, Clooney plays Miles Massey, a super-successful divorce lawyer who takes one look at his client Rex Rexroth's gold-digging wife Marilyn (Zeta-Jones) and suddenly hears the strings of his heart go zing. Even if the film were not a screwball comedy, we know enough about the Coens' parallel world to grasp that nothing is really intolerable, because so little of it is believable. By the same token, when a millionaire divorce lawyer toward the end of the film tells a hushed auditorium of his fellow professionals that "love is good", and that it is a nobler thing than tearing a couple asunder, we know from the assembly's ecstatic response that the scene doesn't really "mean" anything. Why would divorce lawyers applaud something that would do them out of a job?One of the few things that isn't bogus here is the pulchritude of its two leads.
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Nobody in Hollywood really understands Eng- land, and they certainly do not under- stand Ireland "'In America' opens in London on 31 October It goes on general release from 14 November. There is nothing very intolerable about the cruelty in the Coen Brothers's new movie, Intolerable Cruelty; it just sounds that way. You have either got to hit one or the other or you are not in the picture.Sheridan sighs even as he smiles. "You have to pick a subject matter or theme which is universal these days. "Martin Sheen said it was the best acting by two kids since E.T., so I must be doing OK." He admits that the two real-life sisters, then aged six and 10, got under his skin. "I let them run the whole show and I turned the set into a kids' paradise."We had no girls in my school, you see.
My wife said I seemed to like the kids in the film better than my own. Naomi, my eldest daughter, said: 'Of course, with these girls you can rewrite them.'"Sheridan's emotionally-engaging body of work has solidified his reputation for being an "actor's director". He has worked with Daniel Day-Lewis - this country's closest answer to a method actor - on no less than three occasions.Born into a theatrical family, Sheridan helped found the Dublin Project Theatre Company in the 1970s with his brother Peter, who is now a writer. In 1981, he slipped into the USA from Canada (an event played out in the film) and took up the reins at the New York Arts Centre before studying film at New York University.His 1989 debut feature My Left Foot, based on the quadriplegic writer-artist Christy Brown, won Oscars for Daniel Day-Lewis as theChristy and Brenda Fricker, who played Christy's mother. The following year he shot The Field, a bruising feature starring Richard Harris about an Irish farmer warding an American real-estate developer off his land. Sheridan's rich vein of form continued with In the Name of the Father, which won another string of nominations for Best Director, Screenplay and Picture at the 1994 Academy Awards.The film was a vitriolic (his critics would say biased) attack on the British justice system. It told the story of the miscarriage of justice involving the Guildford Four, who were wrongly jailed for the 1974 IRA pub bombing on the British mainland."In the Name of the Father was huge," Jim says with unabashed pride, puffing out his chest.