Word: dooms
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First of all, he is tired, still groggy from jet lag. He has just returned from Sri Lanka, where he was working on Indiana Jones: The Temple of Doom, the sequel to Raiders. Second of all, he is worried about the reception of Jedi. "What if we have finally got to the end of the shaggy-dog story," he asks, "and everybody says, 'That's it?' Technically and logistically, this was the hardest of the three films to make, and all I see is the mistakes and the stuff that doesn't work." Only...
...hype. Because they share the same initial and transplanted nationality, Chia, Enzo Cucchi, 32, and Francesco Clemente, 31, tend to be bracketed together as the "three Cs." In fact they are very different painters. Chia's light-operatic gifts have little in common with Cucchi's mucky, doom-laden earnestness: apoplectic chickens and mud slides in the cemetery, done in umber and black two inches thick. Nor does he seem a forced talent like Clemente, a glib draftsman whose "expressive" pictorial rhetoric is stretched paper thin to cover a paucity of formal skills. (Ah, to be young, overrated...
...because of the absolute moral terms in which their "debate" has been couched--deigns to consider more moderate views. Meanwhile the public remains largely uneducated about the complexities of nuclear strategy instead, individuals take sides based on whether they fear more the gloom of a nuclear holocaust or the doom of Soviet hegemony...
Once upon a time the weekend races in April served merely as a tuneup for the Harvard heavyweight crew. The Crimson would routinely swamp all competition leading up to the Eastern Sprints in May, whereupon Harvard's performance would either seal of doom an undefeated season...
...looking, with a voice of steel, while the more ineffectual Calpurnia (Melinda McCrary) has a habit of turning back and forth to the various characters on stage, as if entreating them to listen to her. And when Caesar's ghost walks across the stage to warn Brutus of impending doom--an effect which, like the ghost scene in Hamlet, tends to inspire the most ridiculous devices imaginable from directors afraid of seeming naive--Cameron-Webb manages to achieve total straightforwardness. A panel of the Capitol slides up, revealing a blue-scrim sky, and the silhouetted monarch simply walks across...