Word: climaxes
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That machine keeps pumping vigorously right up to the climax, when the movie goes haywire with some pirouetting twists of character, after which the ultimate villain is handed an endless aria about why venality is the only efficacious way to do business. "What happened to just locking up the bad people?" asks Ludlow plaintively, only to be told...
...Hold on Now, Youngster...” is its strikingly emotional center. “Knee Deep at ATP,” about a failed relationship at a music festival, allows the album a rare moment of respite from the frenetic pace of most songs. It builds to a climax which inverts the wisdom of “High Fidelity,” as the band vows, “It’s not what you like but what you’re like as a person.” The song rescues the album from any potential accusations...
...years. But after a minute, the chorus explodes with drums and Mills’ chanting, and the track vastly improves. “Until the Day is Done” starts off with boring, war-related lyrics and distant drums but eventually gathers momentum to a pleasant, if generic, climax. And the verses of “Sing for the Submarine” sound sinister and vaguely creepy, but give way to a pretty, more complex chorus. The brevity of the album also has important consequences. Some of the faster songs end strangely and abruptly—in an unnecessary...
...esque neighborhood renders its interior discord shocking. “Snow Angels,” while successful in its faithful representation of human relationships, suffers from some heavy-handed production choices that warp the bleak into the boring. Most notably, the ending drags on painfully as the climax gets buried beneath a long series of concluding scenes. Green manages to tie together each relationship’s loose threads—some neatly, some clumsily—but the time he takes to do so is excessive. Still, the film’s achievement lies in making use of extremes...
...miscast, risibly implausible, your basic botch. In The Canterville Ghost (1944), Dassin's job was to referee between two shameless scene-stealers: Charles Laughton and the seven-year-old Margaret O'Brien. If there's a magic moment in any of these features, it might be the climax to Two Smart People (1946), where gunzel Elisha Cook, Jr., falls dead off a balcony during Mardi Gras and lands on a firemen's cloth hoop held by the crowd of revelers, who gaily keep bouncing the corpse into the air. You could take that as a metaphor for Dassin's years...