Word: climaxes
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...precision. Subtle changes in tempo within movements were elegantly executed, as well as dramatic changes in dynamics, moving easily between thundering chords and delicate melodies. Particularly notable were the passionate development in the opening movement, the excellent phrasing of the slower second movement and the move to the overwhelming climax in the finale...
...where dense triplet runs, exchanged around the orchestra, blanket the background with a literal whirlwind. Where the low strings were a little muddy and understated, the winds were articulate and perfectly balanced. When the runs finally arrived in the upper strings the execution was clear and precise. After a climax, which perhaps could have been heightened, a cannon in the brass section follows. Here, with staggered entrances, the strength of the brass choir was fully exploited, each voice clear and sonorous...
...journalists themselves, cannot resist hammering home their message. "I don't want to cross the line," Brackett tells his boss; Lou, at the beginning of the movie, "I just want to move the line." Cheesy, perhaps, but certainly forgivable in terms of moviespeak. But later, as the film's climax approaches, the writers are apparently worried we may have forgotten their little zinger. "How's moving the line going, Max?" Lou asks the humbled Brackett, who has suddenly rediscovered his conscience. "Can't be moved," Brackett answers, "I know that now." Ladies and gentlemen, we give you...the moral...
Hoffman's Brackett is by far the most complex and believable character of the bunch. Still, the writers need him to become more sympathetic as the climax approaches, and they try very hard to make us like him again, a feat which requires some serious mid-movie plot engineering (up to this point, we've only seen him capitalizing on tragedy and weighing the pros and cons of seducing Lori). Halfway into the film, two wolfish network producers inexplicably show us a clip of Brackett and anchor Hollander on the site of a gruesome airplane crash. Shaken by the carnage...
...past century has mantled itself with museums, as the temple of art gradually replaced the church as the emblematic focus of civic self-esteem. Now, two grand projects by leading American architects, utterly different from each other in purpose, appearance and design philosophy, may be said to mark the climax of the age of American museum expansion. One is in Los Angeles and opens officially in December--though small flotillas of previewing VIPS have been trawling through it for the past few months. The other, already open, is under American management but is set in Bilbao, in the Basque region...