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Kim recently guest starred several times as "Joannie Stubbs" on HBO's series "Deadwood." Though born far from the city, deep in the Heart of Dixie, actress Kim Dickens got an ambitious start to her career in film and television as a student at Vanderbilt University, where she made her stage debut in a student production of David Mamet's Sexual Perversity in Chicago. Born in Huntsville, AL, Dickens spent much of her active high school career involved with such activities as varsity softball and tennis, the National Honor Society, and receiving such honors as Senior Class Favorite before graduating in 1983. Later earning her B.A. in communication from Vanderbilt University, Dickens also studied at the Lee Strasberg Theater Institute, is a graduate of the American Academy of Dramatic Arts, and is a member of the Open Stage theater company. Making her feature debut in 1995, with the bumbling crime comedy Palookaville, Dickens spent the next few years acting in such made-for-television movies as Crimes of Passion: Voice From the Grave (1996), before returning to the big screen with Palookaville cohort Vincent Gallo, in Kiefer Sutherland's Truth or Consequences, NM and the 1998 update of Charles Dickens' classic Great Expectations. Bringing in the new millennium with roles in such thrillers as The Hollow Man and The Gift, Dickens took a turn back to the small screen in 2001, for a role in the ambitious but short-lived series Big Apple. The resilient actress bounced back to the big screen again, later that year, with Last Call. Other credits include, Alfonso Cuaron's "Great Expectations", Arne Glimcher's "The White River Kid" with Antonio Banderas, and Sam Raimi's "The Gift" with Cate Blanchett. Dickens will next be seen playing a heroin addict in the soon-to-be released feature "Goodnight, Joseph Parker" with Debi Mazar and Paul Sorvino. Kim Dickens lives in both Los Angeles and New York City.
Kim ( Kimberly ) Jan Dickens was born on June 18, 1965 in Huntsville, Alabama, USA.
Kim Dickens plays Joanie Stubbs in ''Deadwood''
When the Bella Union arrived in Deadwood, it came with its own supply of high-caliber whores. These ladies have a savvy madame in Joanie Stubbs, a woman who knows her craft inside and out. Her business acumen isn't limited to just prostitution either, as she's able to assist Cy Tolliver with a variety of tasks around the Bella Union and serves as one of his confidantes.
But Joanie has become uncomfortable working for-and being the love object of-the mercurial and often-ruthless Cy Tolliver. When he forces her to execute a child thief, Joanie almost turns the gun on herself. "Kill me too, Cy, or let me go," she says. "If you don't kill me or let me go, I'm going to kill you." With Tolliver's grudging support and with some illicit financial help from the card dealer Eddie Sawyer, Joanie sets off to open her own whorehouse.
A new day is dawning in Deadwood...
The spring of 1877 brings major changes to the teeming outlaw camp of Deadwood, as civilization makes its way to town. New arrivals will usher in an era of power struggles with the camp founders-and power struggles in Deadwood have a way of turning violent....
Created and executive produced by David Milch ("NYPD Blue"), Deadwood enters its second season as one of most acclaimed dramas on television. The series was nominated for 11 Emmys® and two Golden Globe® Awards in its debut season.
Kim Dickens: Things Behind the Sun
Writer and director Allison Anders, who used the world of rock & roll as the backdrop for her films Border Radio, Grace of My Heart, and Sugar Mountain, returns to the music scene for this tale of a woman struggling to come to terms with an emotionally devastating past. Sherry McGrale (Kim Dickens) is a punk-influenced singer and songwriter whose angry, deeply personal music has begun to win her a national following, though the demons that fuel her art are playing havoc with her life, as she drowns her sorrows in drugs and alcohol and fills a growing police blotter with arrests for disorderly conduct. Sherry is winning significant airplay for a song about the brutal rape of a young woman, and rock journalist Owen (Gabriel Mann) convinces his editor Pete (Rosanna Arquette) to assign him a major story on Sherry when he tells her he knows the truth about Sherry's own rape as an adolescent, which inspired the song. Owen is forced to run interference with Chuck (Don Cheadle), Sherry's manager and former boyfriend who is fiercely protective of his fragile client, but Owen is still able to meet with the singer. However, Owen finds that Sherry either can't or won't remember most of the details of the brutal and degrading assault, and she doesn't want to discuss the heavy toll it's taken upon her. Influential experimental rock group Sonic Youth contributed several original compositions for the film's score; Sherry's singing voice was provided by Kristen Vigard, who performed on the soundtrack of Grace of My Heart.
Kim Dickens plays in ''Hollow Man''
In an age when computers and visual effects are cinematically at the top of their games, it's curious that a film hasn't been made sooner about a psychotic invisible man. Sure, there was 1992's big-budget fiasco, "Memoirs of an Invisible Man," starring Chevy Chase, but that was a black comedy, rather than a thriller that truly delves into the mind of a slightly unhinged human subject who has decided to become invisible. The possibilities for what could be done with this idea are seemingly endless, and "Hollow Man," directed by hit-or-miss director Paul Verhoeven (1992's "Basic Instinct," 1997's "Starship Troopers"), has taken advantage of this novel approach, offering up the type of state-of-the-art special effects that have never been seen on the big screen before. While problematic in more ways than one, the picture also holds the distinction of actually working as a spooky horror picture, albeit one that is particularly more gruesome and violent than most.
Slick hotshot Sebastian Caine (Kevin Bacon) is a self-titled genius, the head of an exclusive research team being financed by the Pentagon who has discovered the DNA formula with the ability to render animals invisible. Following experimentations that claim bringing the animals back to visibility are successful and relatively harmless, it is time for a human to become the next test subject, and Sebastian is determined to be that man.
Without authorization from the Pentagon and aided by fellow researchers Linda McKay (Elisabeth Shue), Sebastian's ex-lover; Linda's current flame, Matthew Kensington (Josh Brolin); veterinarian and animal specialist Sarah Kennedy (Kim Dickens); and assistants Carter Abbey (Greg Grunberg), Frank Chase (Joey Slotnick), and Janice Walton (Mary Randle), Sebastian injects himself with the invisibility serum, and although a rocky journey, the next quantum step works, leaving him exactly like the animals they had previously tested.
When bringing Sebastian back proves to be more difficult than all involved had expected, leaving him temporarily trapped in a world where no one can see him, he gradually begins to grow stir-crazy stuck in the underground lab, and begins to realize that he now has the ability to do anything, criminal or not, and could get away with it. Not helping matters is the discovery that Linda, whom he hasn't gotten over yet, is romantically involved with Matthew.
For the opening hour, "Hollow Man" is almost exclusively a psychological drama, and it isn't until Sebastian finally snaps that the proceedings turn ghastly. Whereas the biggest chunk of the film deals with the provocative question, "What would you do if no one could see you?," and gains notable mileage out of such a thought-provoking notion, the movie finally switches gears and, by the final thirty minutes, has become a gory slasher movie, where the central figures are knocked off one at a time until only two characters remain to fight for their lives against the killer.
The sudden switch in genres and tones is cause for both disappointment and celebration. On one hand, by the time the climax has arrived, director Verhoeven and screenwriter Andrew W. Marlowe have abandoned the innovative psychological subject matter that had been brought up, instead aiming for shocks, scares, and bloody death scenes. Verhoeven and Marlowe both could have undoubtedly thought of a more intellectually sound way to conclude the story, something that would have followed through more closely to what had come before, but scientific accuracy apparently was not on their agenda. Relatedly, when the murders arrive, the basic story is more or less forgotten about, in place of an "Alien/Friday the 13th" clone.
Despite what it may sound like, becoming a basic slasher film isn't necessarily a negative thing, however. The final thirty minutes are easily the most entertaining and tautly paced, and manage to even be a little frightening, a trait that is rare these days. The ingenious twist on the stalk-and-slash motions it goes through is that the menace can only be seen while wearing special goggles, or when something touches him, like water or steam. One particular sequence, set inside an elevator shaft, is especially nerve-wracking, and stands as proof that Verhoeven is a true filmmaking craftsman.
The visual effects in "Hollow Man," by Sony Pictures Imageworks Inc., are the true stars of the show, as they are rarely ever anything less than awesomely convincing. The process in which someone or something becomes invisible is superbly realized, as the skin is first stripped away, followed by the vital organs, and then the skeletal system. The computer-generated effects, which are another step forward in motion picture technology, makes everything that is happening believable, and therefore, more threatening.
Elisabeth Shue, who hasn't found much success following her Oscar-winning role in 1995's "Leaving Las Vegas," is effective and strong-willed as the heroine, a sort of Sigourney Weaver for the '00s. If any human actor steals the film away from the effects, it is Shue. Kevin Bacon, as Sebastian, is also very good, and easily has the most difficult role, as he must show emotions from only the sound of his voice (he is invisible for 3/4 of the movie). It is also nice to see the talented Josh Brolin (1998's "Nightwatch") here, as he is an almost constantly underrated thesp who deserves more recognition, and will hopefully get it with such a showy studio film here. Outstanding in a supporting part is Kim Dickens (1998's "Zero Effect"), who, with every appearance, is able to form a three-dimensional character, even when it isn't on the written page. Dickens is one of the most promising young actresses working today, and like Brolin, merits further exposure.
Kim Dickens: The Gift
Gothic murder-mystery yarns are not a new conceit. In fact, they've been around in books and on film for many, many years. Without the proper handling, they come off as old-fashioned, bland, and outdated. "The Gift," directed by Sam Raimi, is a tried-and-true effort that surprises very little, and includes everything from a wide array of suspects and red herrings, to mansions in the deep south with moss trees out front, to the eventual discovery of a waterlogged corpse found in a nearby pond. It's fairly obvious who the killer is; in fact, I predicted who it would be before the movie began and was correct in my preliminary suspicions. The film ultimately shouldn't work, but it does, thanks to a sparkling cast that fills each character with so many memorable nuances, the most fun to be had is in simply watching the people interact with each other.
Annie Wilson (Cate Blanchett) is a recently widowed mother of three sons who makes her living giving psychic readings to the residents of her backwater southern hometown. Some of her mainstay clients include Valerie Barksdale (Hilary Swank), who is severely abused by her husband Donnie (Keanu Reeves), and Buddy Cole (Giovanni Ribisi), an unstable mechanic who is confused by the nightmares he's been having about a mysterious blue diamond that is somehow linked to his father. For Annie, she does not give the readings merely for money, but uses it as a way of seeking solace in finding the good in everyone's future. Her late grandmother (Rosemary Harris) told her as a child that it was a gift she was given, and she should always remember that.
When Annie's eldest son is involved in a fight at school, she meets the nice-guy school principal, Wayne Collins (Greg Kinnear), whom she finds herself attracted to. But Wayne is engaged to the wealthy Jessica King (Katie Holmes), whom Annie immediately gets a negative vibe about. At a party with her best friend Linda (Kim Dickens), Annie stumbles upon Jessica in a compromising position with lawyer David Duncan (Gary Cole). Soon after, Jessica has disappeared, leaving everyone in a frenzy over what could have possibly happened to her, and Annie starts to have nightmares and apparitions linking Jessica with the vicious redneck Donnie Barksdale, and the pond behind his home.
"The Gift" may be cliched on a sheer storytelling level, but the performances and tight direction from Raimi (who has redeemed himself for his embarrassing last film, 1999's "For Love of the Game") lift the picture up several notches. Slowly enveloping the viewer into the many intriguing characters and their individual plights, the disappearance of Jessica at the 30-minute mark divulges the movie's true intentions and transforms the proceedings into a taut, at times frightening, horror-mystery.
At the center of the film is the exceptional Cate Blanchett (1999's "The Talented Mr. Ripley"), who turns Annie Wilson from what could have been little more than a run-of-the-mill protagonist into a very exact, down-to-earth, realistic person with valid troubles and a caring attitude towards those around her. Blanchett takes the unextraordinary material and runs with it, giving the entire film a truly classy aura that it otherwise might not have had. We follow her at every turn because she is so mesmerizing, both as a character and an actress.
Blanchett isn't the only bright performer, as she is ably supported by one of the best casts of the year. In her first role following her Oscar win for 1999's "Boys Don't Cry," Hilary Swank is excellent as the confused Valerie, who seeks guidance from Annie, but is too scared to take her biggest advice of all: to leave the grossly abusive Donnie. As Donnie, Keanu Reeves (2000's "The Watcher") makes an utterly convincing backwoods meanie, so much so that it is difficult to believe he is an actor at all. For the often-criticized Reeves, whose acting abilities have never been the best, this is the biggest compliment he could possibly get, and it is also one of the better performances he has given. Giovanni Ribisi (2000's "The Boiler Room") is heartbreaking as a mentally slow young man who sees Annie as his only friend, and wants her to do nothing but help him understand why he is being plagued by bad dreams about his dad. In the small, but pivotal role of the sleazy Jessica King, Katie Holmes (2000's "Wonder Boys") has turned in yet another stunning supporting turn. Her promiscuous role of Jessica is one she has never played before, and she is radiant in her few scenes. Finally, Kim Dickens (2000's "Hollow Man") makes her usual strong impression as Annie's spicy best friend, Linda.
The other notable aspect of "The Gift" is its moody atmosphere that lays such a thickly foreboding air over every scene it's almost suffocating. Thanks to cleverly construed editing by Arthur Coburn and Bob Murawski, and the successful use of different eerie sounds effects and a very good music score by Christopher Young, the movie not only achieves a scary undercurrent, but one that is filled with dread. Helped along by a strong screenplay by Billy Bob Thornton and Tom Epperson, which makes the most of its setting and delightful cast, "The Gift" is that rarest of thrillers that actually thrills, and offers up a fair share of chills, too. It may not be groundbreakingly original, but it sure is an entertaining ride for the duration of its running time.