Word: ages
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Dates: during 1990-1999
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...they were raucous and rollicking during versions of early '80s classics "Radio Free Europe" and "Wolves, Lower," as well as passionate on mid-career faves like "Fall On Me" and "The One I Love." But because like wine the band has only grown sweeter and more potent with age, the oldies sounded as great as the new songs...
...lest you think that in their old age R.E.M. may show signs of slowing down, think again. New song "The Great Beyond" from the upcoming Andy Kaufman movie Man On The Moon rang with sheer cinematic beauty and youthful optimism. Early '90s tracks like "Find The River" and "Sweetness Follows" were brooding, tear-inducing and gorgeous. And their positively manic and explosive finale of "It's The End Of The World As We Know It" had more energy than a bawitdaba and a nookie combined...
...laugh before he even says a word, and it is a laughter that comes without a hint of cynicism or meanness. Indeed, it is Powers' unending cheerfulness and excessive eagerness to please that makes him so appealing. In Austin Powers: The Spy Who Shagged Me, Myers comes of age as both Powers and his nemesis, Dr. Evil. Much of the first movie was spent creating Powers and Evil as characters, but in this sequel Myers is free to let his creations run loose. And in spite of the movies unnecessary bent towards the scatological, the result...
...emotional sadism. Without any sense of irony, they play at love like two young teenagers, not like adults made wise by past love affairs. And like teenagers, they fall away from each other and come back together with equal parts earnestness and bewilderment. Why director Roger Mitchell thought this age-inappropriate emotional roller coaster would be entertaining, I'll never know. It's not love that William Thacker and Anna Scott need. It's some semblance of emotional maturity, or at least organizational skills...
...Blair Witch Project is a bad movie. In terms of premise alone, it's probably one of the most original features of the decade. But an Alfred Hitchcock film this is not. Its tireless commitment to the most bleak form of realism, while admirable in this age of special effects-laden horror films, gives it the emotional depth of an episode of Unsolved Mysteries. The fear of the movie's characters is raw and brutal, but the fear of the audience members is dulled by the absence of any emotional involvement in the film. Perhaps if writers/directors Daniel Myrick...