Word: kingdoms
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Disney wants to hook the whole family with its homey, homogenized grandeur; U.S.F. and I.O.A. are aimed at the 9- to 15-year-olds, too hip for the Magic Kingdom but still young enough to tolerate a week's vacation with their parents. As consumers, these kids are warier. So the coasters are scarier, the flume rides hairier. Even I.O.A.'s Cat in the Hat ride, tailored for kids, may upset some young stomachs with its gyrations. Disney soothes, like a kindly grandma taking the toddlers for an afternoon stroll. Universal rattles and rocks; it is Bart Simpson baby-sitting...
Disney alone has built at least one park every decade since the Magic Kingdom appeared in 1971. Last year the company not only opened the gates to Animal Kingdom (reported cost: $800 million) but also launched the Disney Magic ($350 million), its first cruise ship in Florida. A second ship, the Disney Wonder, is on its way. Analysts see so little economic rationale for these expenditures that they've begun to label the ships "Tragic" and "Blunder." Disney's stock price has been taking on water. Yet the company still has enough land in central Florida to add three more...
...suspects that Lucas was more interested in the aliens than the humans, and in the art direction than the direction of actors. The vistas of the imperial city Coruscant and the Gungan sea kingdom have a suave rapture; but some of the dialogue scenes are way too starchy, as if the actors had been left to their own resources while George minded the computerized menagerie. (The line readings of Portman and Lloyd are often flat, or flat-out wrong.) Neeson gives Qui-Gon a flinty dignity; Pernilla August, her weathered face streaked with love and foreboding, brings heft...
...said one day, show me Zelda. Nat grinned. And like a giddy tour guide, he showed me Princess Zelda's kingdom. "You gotta see this. Look what happens when you go to the Temple of Time. Check out the graphics when you use the light arrows." The game, as it turned out, was a synthesis of Arthurian legend, Tolkien mythology and Marvel comic books. It was devilishly difficult. Besides mastering arcane weapons (no blood, though), he had to memorize different sequences of tones--magic songs that transported the hero. There were puzzles to solve, strategies to plot...
Clarke is magnificent as the third Richard, slowly loosing grip on the kingdom and his sanity. He bounces around the stage in a fury of guilt and reproach as the valiant Richmond moves to retake the throne. Parris perfectly complements Clarke as the righteous force of good that inevitably defeats the evil Richard. The play ends with a gloriously choreographed battle between the forces of Richard and Richmond. But although the choreography, music and set are spectacular, the real engine that moves Richard III to success is the solid, intense, and complementary performances of the three Richards...