Word: flatted
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...people and sending his own body parts into guests' rooms. And even in the simplest of exchanges, people are frozen between moments of hope and intimidation. At the seam between the Jewish and Armenian quarters one morning last week, the photographer who took this picture and I got a flat tire. An Israeli Arab municipal worker stopped to help. The gentle exchange was disrupted by a raucous Jewish security guard who knew the Arab and roughhoused jokingly with him, demanding, 'Where is your pistol...
...British version of The Graduate, too, seems to miss much of the film's sense of time and place, as well as its very American comic rhythms. The scenes that try to duplicate the movie (Benjamin's awkwardness at the hotel, for instance) fall flat. Those that depart from it (the climactic scenes at Elaine's wedding) go totally awry. To streamline the action for the stage, Johnson makes elisions that simply don't play. Mrs. Robinson now tries to seduce Benjamin not in her house with her husband gone but in his bedroom with a party going on downstairs...
...pitch went off Lopez’ hand, ricocheted into his mouth and knocked him flat on his back. Lopez—who suffered a traumatic eye injury during his freshman year that sidelined him for a season—spent a few uneasy moments on the ground before trotting to first to load the bases...
...nimbuses of colored light. Soldiers wading knee-high into battle are obliterated by a radial shockwave, leaving dashes of black dust on the ignited air. (Animation can be dark: to Japanese artists, this is a news flash from Planet Obvious.) The landscapes of the previous games were richly-rendered flat canvases, but Final Fantasy 10 has a three-dimensional world shot by an agile, spiraling camera that skates smoothly between close-ups and long shots. Gone is the blue text box, banished with other dear quirks of the series. The characters speak...
...series of monochromatic studies that draw heavily on Pieter Bruegel the Elder’s “The Tower of Babel” paintings. In Bergstein’s “Mount II,” a decaying round structure emerges out of a charred and flat landscape. Fractured rising levels are energized by thin lines that betray the motion of a building buffeted by wind, as the sky overhead swirls in an array of wiry spiralling strokes and abstracted ghosted line drawings. Bergstein departs from Bruegel in that he invests his work with an incisive, visceral intensity...