Word: homely
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Dates: during 2000-2009
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...decades, making his latest musical endeavor, an album of holiday standards entitled “Christmas in the Heart,” just as puzzling as it is entertaining. Nostalgic descriptions, like on “Silver Bells,” of how Christmas “shoppers rush home with their treasures” may seem a bit incongruous coming from the same singer who penned a batch of angry lyrics railing against the system. Luckily, Dylan hasn’t suddenly decided to sell out for some quick Christmas cash—sales from the album will...
...release decided to scrap the meticulously-recorded studio cuts in favor of live 4-track recordings. The result was what one would expect when condensing a room full of pummeling drums and gut-wrenching bass amplifiers down to anemic laptop speakers, tinny iPod headphones, or muddy home stereos: while it reminded a lucky few of that crazy show they saw in a dirty Providence loft, to the rest of us it sounded underpowered and underwhelming. Subsequent releases improved the recording quality, but still sought to capture the spontaneity of a live show, using very little production and emphasizing improvisation over...
...obnoxious brat and benevolent dictator. Max emerges as a much more nuanced and developed character in the film than his literary counterpart. He is less impish and more thoughtful, and he experiences a more profound realization at the movie’s end. The creation and destruction of the home is a recurring motif. Max is seen building forts, igloos, and king’s quarters, but none of these endure or give him the safety he seeks. Likewise, the Wild Things are drawn to caves and attempt to construct their own safe refuge in the form of a large...
...movie’s two primary beasts are the temperamental Carol (voiced by James Gandolfini) and the pragmatic, restless KW (voiced by Lauren Ambrose), who, much like Max, flees her home seeking something more. Through the Wild Things’ search for a womb-like shelter free from loneliness, Max comes to understand his own need for the security provided by family...
Jonze imitates Sendak’s cramped illustrations of Max’s life at home with up-close, claustrophobic frames in the first part of the film. As the book continues, Sendak’s illustrations grow larger, eventually encompassing two pages; in the film, these expansive depictions of Max’s imagined realm become vast frames of striking deserts and forests that swallow viewers whole...