Word: coy
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...murders of the fifties is whether the director did it on purpose. Either way we lose. If the film is serious, it is a tasteless romanticization of mass murder as teenage alienation in the silent 50's: if it's not, the film can only be taken as a coy parody of James Dean which has nothing to offer beyond its original kitchy conception...
...Raucher's previous Summer of '42, much of the dialogue written for the adolescent lovers (well played by Glynnis O'Connor and Robby Benson) is coy chatter, polyunsaturated Salinger. Many of the big scenes, in contrast, are levelly written and directed with a certain reluctant reserve that gives them true intensity. The last scene especially, which reveals all about Billy Joe's tragedy, has a fine force that goes well be yond the modest limits this movie has set for itself. The scene belongs mostly to the man who brought about Billy Joe's death...
...Beatle, McCartney ebulliently proved that he could mix with the best of them, but at the moment he is having fun being flippant about rock's old insistence on relevance. His tunes are elaborately homespun, lined with shifting, driving rhythms and coy harmonics, their lyrics full of flights of gentle, sometimes treacly fantasy. There are little science-fiction ditties and frequent paeans to Linda. Even during his Beatle days, McCartney was something of a sentimentalist, and not embarrassed about it. At this point in his development, he seems pleased to be a first-rate performer and a composer...
Bleak Dreams. Finally she crumbles. Like a coy adolescent, she tells Tomas she will sleep with him - but just sleep. She asks for pills to ensure her rest, but she cannot close her eyes. She starts talking to Tomas in bed about an incident where she was set upon by two men and almost raped. She found, to her shame, that she wanted to be violated, but her body would not permit it. She laughs, as if to dismiss this confession - and all it implies - then, out of control, starts to cry, then laugh again, then gasp through both...
...will best promote her product. "After a while, everyone becomes his job," warns the Wizard, and Betsy has clearly completed the evolution. She is an ice-queen (Shepherd seems incapable of playing anything else), self-possessed for as long as she can sustain her fortress of manila folders and coy sexuality. But when Travis takes her to a 42nd Street moviehouse, she runs--the scent of real life, outside her redcarpeted office, is too much for her to deal with...