Word: comicalities
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...critics used to call it, "heavyweight painting," and it was certainly crude enough for three drunken gnomes and a village woodcutter. Inch-thick paint (the stuff that used to mean "sincerity" in the 1980s, remember?) and sculptures mutilated from tree roots with chain saws. All this rhetoric, now so comic, had its equivalents in the States (think of Julian Schnabel and his pretensions), but Germany was its homeland, or Heimat, if the word didn't still sound residually Hitlerian...
Hollywood loves comic books, from the Blondie and Dick Tracy B movies of the '30s and '40s to the more recent big-budget franchises of Superman and Batman. There are times (say, every summer) when American movies seem to be one gigantic, endless comic book. The film industry has long been buggy about creepy crawlers too. In the '50s it spawned the mammoth postnuclear monsters of Them (ants) and Tarantula, and 30 years later it bankrolled David Cronenberg's magnificent remake...
Only in 2000 did Marvel and Fox finally hit the right formula with X-Men and get their first whiff of sweet-smelling success. Apparently, X-Men had that little extra something. Scratch, scratch. It is this simple. A comic-based film needs a truly super superhero. He needs to be the kind of guy every girl wants to date, and every guy wants to be. A superheroine needs sex appeal oozing from every inch of her vinyl suit and a superpower image that screams‚ don’t mess with...
Figuring out which superheroes have this kind of appeal gets marginally tougher. A lot of heroes are already popular with the comic-book crowd. But some heroes have that all-important mass appeal. What makes, say, Wolverine infinitely more attractive than Mr. Fantastic? I posed this question to a few diehard fans and they pretty much focused on the samething: the superpower. It has to be spectacular. What guy doesn’t want rip-roaring brawn, the ability to heal himself and 12-inch retractableclaws? On the other hand, Mr. Fantastic can-what, stretch himself...
...partner-in-cannibalism, the quick-thinking and manipulative Mrs. Lovett, played by Emily S. Knapp ’03. Knapp, who gives the most brilliant performance to grace the mainstage this year, handles her numbers (particularly “The Worst Pies in London”) with perfect comic timing and a warm—if occasionally weak—voice...