Word: loved
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Dates: during 1990-1999
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...However, this is not to say that the sappy amongst us won't sigh and smile at the love between the king and Anna, for Chow Yun-Fat as King Mongkut provides much to sigh and smile at. While the film's message may not be 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...
There is something different about an Oscar-worthy movie. It is larger than life, it has grand themes on love and life, it is supposed to inspire, thrill, move. In short, it is Dances With Wolves grand, it is Saving Private Ryan intense, it is The English Patient complex. Director Norman Jewison's (Moonstruck, Agnes of God) latest offering, The Hurricane, aspires to be an Oscar movie. It is lush, it is serious and boy does it try to stuff itself full with Oscar-worthy themes...
...show to find out why TRL has become such a runaway pop culture juggernaut. Want to hear Carson's opinion of Harvard? Or find out what really makes these teenage girls tick? We'll lay out our whole Incredibly True Adventures of A Boy and a Girl in Love...with MTV in a coming issue...
...Brothers Karamazov, seems almost chosen at random from the list of novels that it references. The basic plot of Dostoevsky's famous meditation on being and nothingness (long before Sartre took the patent out on those themes) serves as the starting point of the Durang/Innaurato collaboration: four brothers, tempestuous love, life, death, etc, etc. But it doesn't take long to leave Dostoevsky in the dust as Durang and Innaurato jump full force into the whole of literature since the Book of Genesis. Durang has always been something of the Tom Stoppard of absurdist drama, but in The Idiots Karamazov...
...CrossCurrents initiative, an ongoing attempt to "create and sustain a body of new music theatre works," The Idiots Karamazov intersperses cabaret-style singing with its mad dash through practically all the Western fiction and drama worth reading. But an experiment in Brechtian musical theater this is not. With love ballads about the loss of Christian morality that come across as even more depressing than Tom Stoppard's musings in Jumpers and show-stoppers about the benefits of being a male nun, Durang's songs are more bizarre than his scripts, if that can be believed. Add to this a text...