Word: liking
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Dates: during 1990-1999
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...barn burnings, gunfights and bloodshed. The men seem to enjoy the brotherhood of slaughter and use the Civil War as an excuse to release testosterone. Jonathan Rhys Meyers, while adding to the cast of visually appealing young males, should never be seen in Civil War costume again. He looks like a rock star attempting to cut a hip urban cowboy image for a music video rather than the blood-thirsty, Roedel-hating Bushwacker Pitt Mackeson. Why Mackeson actually hates Roedel remains a mystery; nonetheless, Mackeson purposely shoots Roedel during a battle. Meyers' character remains superfluous eye-candy meant to balance...
...best only serve in this context to accentuate the reader's disappointment in the rest of the compilation. In 1959: What is Apartheid?, a transcript of a seminar given in Washington DC, we see the Gordimer who we know and admire. Her prose rings pure and true, like good crystal: simple and clear, but heavy with a kind of unexpected weight. This is the Gordimer who spoke because her words demanded to be heard, and these words deserve reprinting because they bear deeply the watermarks of authenticity and tragedy. They are not as eloquent as her fiction, but they evidence...
...While Woodrell wishes to "get through the humanity of all involved" in his novel, Lee's Ride With the Devil is merely a mockery of human relationships. Maguire's Jimmy Stewart-like treatment of his character, the unexplored dramatic richness of Holt's story and Jewel's shaky on-screen image detract from Lee's normally rich character development. Lee fails in Ride With the Devil. The film is not poorly conceived, but his past films and demonstrated talent grant occasion to expect more from him. This time, Lee tries too hard bridge the gap between the subtlety and serious...
...tight mug. But somehow, when she and Hansen stepped up to their microphones, it was all okay: Sadier's harshness and Hansen's softness mixed together as well as Stereolab's other songwriter (and founder) Ti Gane can mix Muzak and German post-punk, the listless vocals carried along like a beauty queen in a homecoming parade of sound clips, acid jazz and dippy...
...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 screeching feedback and twisted bass-lines stretched out to the point of anguish. Who said there was no such thing as too much of a good thing...