Himura's real name is Halle Lidner, and similar to Lidner, she works with both Near and Mello to help stop Kira.
Violence, family hatred and the poisonous legacy of racism come to play in "Monster's Ball," a dark and beautifully directed melodrama about the strange intersection of racism and emotional need.
Like the other members of the SPK, she works under a false name since Kira needs to know a person's real name and face before he can kill them.Halle Lidner is a former Secret Service and CIA agent who works for Near as part of the SPK, and is the only female member of the organization.She joined the SPK to avenge a close acquaintance who was killed by Kyosuke Higuchi at the time when he acted as Kira.Sometimes "Monster's Ball" hits the mark and achieves the tough, unvarnished eloquence that it aspires to.Other times it's muddy, overly ambiguous, and those eerie, open-ended longueurs that are meant to say so much with silence are no help at all.
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She states that she is on neither Near's nor Mello's side in the competition to capture Kira.Although she ultimately works for Near, she still leaks information to Mello, sometimes at Near's request.Berry gives a brave performance as Leticia, but I don't think it stands up to the expectations generated by her Oscar campaign.She's got a handicap in the vagueness and implausibility of Milo Addica and Will Rokos' script, and another in her extraordinary looks.In the one-shot chapter set three years after Light's death, it is revealed that she continues to work for Near.
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The character Shoko Himura is an amalgamation of several characters including Halle Lidner, Naomi Misora, and Mello.Thornton's character is no more believable than Berry's, but he delivers such an urgent, earnest performance that we can almost overlook the gross lapses in credibility and the 180-degree emotional pirouette that his character makes.Peter Boyle is also effective as Thornton's ailing, unrepentantly racist daddy.Not to take anything away from Berry, but Oscar prognostications have become a reckless, wildly self- sustaining game.Opinions are so easily influenced, so distorted by hype, that a film or performance can't help being diminished by a shrill buildup.