Robert Carradine obituary

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Hollywood actor for more than five decades best known for 1980s cult film Revenge of the Nerds and the teen comedy series Lizzie McGuire Of the four sons who followed their father, John Carradine, into acting, Keith had the most prestigious career, David netted the largest audience thanks to his early-1970s TV series Kung Fu, and the little-known Bruce amassed a meagre handful of minor credits. The youngest, Robert Carradine, acted continuously without ever becoming a star. He has taken his own life aged 71, after suffering from bipolar disorder, which was exacerbated by David’s death in 2009. He had small roles in Martin Scorsese’s Mean Streets (1973), where he was the long-haired gunman who shoots dead the drunk played by David, and as a tracker in Quentin Tarantino’s Django Unchained (2012). He also joined David and Keith as the three Younger brothers in Walter Hill’s western The Long Riders (1980), which populated its cast with other sets of real-life siblings, such as James an...
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The G review – Dale Dickey is gamechanging gangster granny out for vengeance

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Dickey is a revelation as a harder-than-nails woman exploited by the US’s legal guardian system in an otherwise overcooked thriller

The “G” in this low budget revenge thriller is 72-year-old Ann Hunter. That’s “G” as in “Granny”, a nickname given to her by her granddaughter. The joke is that Ann does not fit anyone’s stereotype of a granny. To call her hard-as-nails would be an understatement: nails can bend, but the G is harder, cold, mean and sarcastic. When she reaches for a bottle, dirty washing stacked up around the sink, no clean glass to hand, she pours her vodka neat into an empty yoghurt pot.

The G is played by character actor Dale Dickey, whose TV credits include Breaking Bad and My Name Is Earl. On film, she’s best known for a supporting part in Winter’s Bone, but I have to confess I didn’t recognise her. Having seen her in action here, I’m a convert. The G is heartless and unlikable, her battered face set in a permanent scowl – and yet Dickey conveys a woman shaped by her experience; there’s a backstory eventually about her childhood in Texas explaining the rage and anger. Her performance is a much-needed plus in a film that would otherwise lack a bit of substance.

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