Word: fadeouts
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...friend and neighbor, the filmmaker Alan Wade, has a provocative explanation for why Titanic struck such a strong and reverberant chord with hundreds of millions of moviegoers, especially women: the hero dies. O.K., that breaks a cardinal rule of movie romance: that the lovers kiss happily at the final fadeout. Most examples of the genre end with that rosy image, in part because their makers are reluctant to bum out their audience. James Cameron must have been tempted to end his film with Leonardo DiCaprio's Jack surviving the ship's sinking and enjoying a long life with Kate Winslet...
From the moment Remy enters, crashing, to the final happy fadeout, Ratatouille parades the brio and depth that set Pixar apart from and above other animation studios. The flood that separates Remy from his family is turbulent, terrifically choreographed, action-movie excitement. The budding Remy-Linguini friendship grows naturally, without clamor or shtick--quite a feat, considering how dense and gauche the young man can be. The tonal quality is pretty amazing for a CGI movie. The usual harsh plastic visuals are replaced by muted, luscious views of late-afternoon Paris...
...original is the one to see and savor. This fable of a woman and her daughter in a very wet apartment building slowly builds an edifice of fear. Like the other masters of suspense, Nakata makes films that infect viewers with an unease lasting long after the final fadeout. --By Richard Corliss
...band’s modus operandi. Legendary producer John Leckie (Radiohead, Stone Roses) seems to have contributed heavily to this evolution. His touch is most evident in the futuristic feel of several tracks, such as “Off The Record”’s spacey fadeout. Increasingly psychedelic lyrics like “A kitten on fire/a baby in a blender” confirm a noticeable change in the group’s sensibility. But despite James’ voice and the enthusiasm that the band put into each track, several tracks on the album fall flat...
...show off his range and force. His pedigree in punk shines through when he is forced to sing over loud guitar parts, and his vocals are easily the strength of the album. “Little Dawn” is a nearly six-minute treat, with a lengthy fadeout of whirling guitars and limping bass over Leo singing “it’s alright” over and over. This slow conclusion is broken by the throbbing “Heart Problems,” which blisters by taking full advantage of Leo’s jaw speed...