Word: aimless
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Serial killers are the folklore monsters of the media age. And to hear him tell it, Henry Lee Lucas was the most monstrous of them all. After his arrest in 1983 on a weapons charge, the one-eyed drifter startled Texas police by confessing to scores of aimless murders in 27 states. Soon lawmen from around the country were converging on Texas to see if Lucas might lay claim to unsolved killings in their jurisdictions. He was jetted to murder locations, and as he spoke impassively of stranglings and dismemberments, police gave him meals, gifts and national notoriety...
Boesky (pronounced Bo-ski) was terribly good indeed, thanks to frantic 20-hour workdays, obsessive research and a natural trader's ability to talk on several telephones at once. It was as if he had stored up millions of kilocalories of energy during his aimless years and was now unleashing them on an unwary Wall Street. "Boesky did not really need to cheat," observes Corporate Raider T. Boone Pickens. And yet he did. His relentless drive to get an edge appears to have pushed him right over it. Boesky seemed to expect something like that might happen...
...Harem paints a poignant picture of two boys, Pat and Madjid (Remi Martin and Kader Boukhanef), who commit aimless acts of delinquency, wandering through the streets of a French village with nothing to depend on except their friendship. Through this portrait, the film also addresses some essential questions in society, from racism to poverty to the meaning of life...
...cool artsy line-and-shadow shot after another flashes on the screen. Wheatfields stretch into the distance, crooked fences reflect sunlit weeds, the world becomes one large poetic image as French director Agnes Varda transforms one girl's story into a supposedly universal metaphor; life is an aimless wander, meeting people and passing through places until you die. And, believe it or not, the film's beautiful cinematography and Saundrine Bonnaire's quiet naturalness as the girl actually make this work...
...master technique, a fair number possess innate narrative gifts, but only a few achieve a genuine, persuasive voice. When plays are described as depicting reality, the statement cannot be taken literally: a set is recognizably a set, not a house or a tree, and speeches palpably differ from authentically aimless conversation. What makes a set seem real, what enables dialogue to stand for experience is the writer's capacity to create an alternative world, distinctively his own, and lure audiences into it. That talent is the true measure of voice, a blend of personality and vision...