Word: comic
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Dates: during 1990-1999
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...Setting the roomablaze, Depeche Mode provided the perfectcomplement of frenetic entertainment to the othergroups' down-to-earth nature. With twosynthesizers, a spastic guitarist/vocalist deckedout in Ramones style, a deft percussionist,dancing feet and techno lullabies titled"Sardines" and "Depeche Mode is Not for You,"Depeche Mode was a necessary comic relief thatdeserved third place in the judging...
Many of us grew up reading the popular comic strip "Calvin and Hobbes." To regular readers, Calvin represents more than just a simple source of humor; he holds a special place in our hearts. Through the power of a child's imagination, we are whisked away to a wonderful realm of talking tigers, fantastic space sagas and breathtaking sled rides...
...King George and The Crucible. Whereas with those films, the attention centered on the passionate and dramatic acting, his sparse directing style makes this movie feel slightly sitcom-ish. The scenes don't particularly flow well (some parts scream for commercial breaks), and it jumps from melodrama to obvious comic relief without much attempt at subtlety. Hytner seems lost as to what genre the movie actually belongs in. Rare scenes echo with the light, schmaltzy appeal of a romantic comedy, some seem amateurish (reminiscent of high school plays), and others are bogged down in unnecessarily messy melodrama. The movie reeks...
...script is schizophrenic. While Macaulay's book is known for its intensive character studies of Nina and George, Wendy Wasserstein's script idles with the addition of random, irrelevant characters. Alan Alda and Allison Janey appear in small supporting roles to fit the screen with comic relief whenever the cheese becomes unbearable. Nigel Hawthorne, a Hytner mainstay, is thrown into the movie for no apparent reason (other than to give a tedious monologue where he works in the title of the movie.) Even worse, the script is unsure of itself-the declarations of love between various sets of characters...
...biblical illustrations of 19th century French artist Gustave Dore and the paintings of Impressionist Claude Monet, which use contrasting strokes of color to create a sense of light and space. "We want the audience to respond to our film the way we respond to fine art, not to a comic book," says art director Kathy Altieri. None of this comes cheap: the film costs about $65 million if you ask DreamWorks, and almost twice that if you ask the competition...