Word: hornbyã
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...Lone Scherfig’s new movie, “An Education,” the song becomes emblematic of the film itself. The melancholic strings and James’s wistful vocals are echoed in, and intertwined with, the sixties chic and rainy day intimacy of Nick Hornby??s latest screenplay...
...dull grays and whites of Jenny’s school and home life soon explode into the exuberant reds, golds, and blues of David’s seemingly fairy-tale existence. The stylish cinematography carries the film, subtly accommodating Hornby??s riotous sight gags while capturing the sophistication of the leads’ cosmopolitan adventures. Lush, gorgeous shots refresh the film’s rather familiar coming-of-age storyline and make the film’s central tension feel new and urgent...
...whiny and angsty and lives in Brooklyn; he might as well have AIDS. Chase’s voice and stage presence is entirely generic, but the writers render him impotent by lobbing off Rob’s most important lines. Never once does Rob utter the underlying philosophy of Hornby??s work: “Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music...
...might have overlooked these glaring circumcisions from Hornby??s work if there had been a single memorable tune in the show. Instead, each song in the score regurgitates the same chord progression and is littered with irredeemably bad lyrics. Rob and his girlfriend, Laura, portrayed by the bland Jenn Colella, sleep with new people shortly after breaking up and concurrently sing about it—he, “I slept with someone who slept with Lyle Lovett” and she, “I slept with someone who handled Kurt Cobain’s intervention...
...worked with a heavy dash of irony, in the vein of “Urinetown” or “Avenue Q,” self-conscious about the ridiculousness of musical theater. But instead, the minds behind “High Fidelity” attempt to make Hornby??s decidedly shiftless and self-centered protagonist sing enthused anthems about slackerdom and genuine ballads about his (poor) treatment of women...