Word: knowns
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Dates: during 1990-1999
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...clear, what is obvious is the talent of Chow Yun-Fat and his ability to carry a film. He perfectly complements and is at home amongst the rich sets and lush landscapes. Despite that neither English or the Siamese he speaks in the film are well-known languages to him, his words are infused with a range of convincing emotions. Chow is the perfect man to help illustrate traditional Thai customs, sensibilities and statecraft. Without being overly dramatic, he pulls off the role of the wise, strong, kind, compassionate ruler. Perhaps more famous for his killer with a conscience action...
Right from the start, Glengarry presents some difficult challenges. Ruiz, known for his cleverly farcical, physical style of comedic direction in productions such as The Misanthrope and How the Other Half Loves, confronted and solved the problem of how to find subtler, darker and more naturalistic ways of presenting his characters. As Dave Moss, Christian Roulleau '01 is proof of Ruiz's success. He appears to have mastered the naturalistic intonations and body language called for by Glengarry. Although, at first glimpse, Roulleau's character seems to be in danger of becoming rehearsed, soon he expertly shapes and surfaces...
...Denzel Washington. Who cares if the other characters are two-dimensional? Washington's portrayal of Carter is as multi-faceted and nuanced as it can get. Who cares if there are too many ambitious themes? All the better to let Washington demonstrate his versatility in every range of emotion known...
...word: cool. Stereolab is too cool for you. Last Sunday, everyone's favorite Boston booty palace, the Roxy, was the unlikely host to the London-based experimental rock/electropop band best known for what they have titled "ambient boogie." Their music is a heady mix of everything from Muzak to French femme-pop, from acid jazz to industrial German kraut-rock, tied up into neat little alt-rock packages with the silky ribbons of Mary Hansen's lead vocals...
...that reverb overkill is all good all the time. The band best known for perfect mixes of diverse and often discordant sounds should have done a better job of mixing their set list. The first half left you with that cold Stereolab feeling inside; the first few songs after "Free Design," their most recent single, showcased their new-found rock-out tendency, leaving you reeling with the overwhelming strength of their steroid-pop. But after a while it started to grate on the eardrums and sounding the same, like the never-ending conclusion to a bad U2 song riddled with...