Word: lovelessly
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...which reaches its peak at the Venice Carnival (a script addition), only to disappear completely in the one explicit sex scene (definitely a script addition), which Softley deliberately deeroticizes to show the gulf that opens between Kate and Merton. Both the sexualized metaphor of the masked carnival and the loveless sex may strike one as a bit heavy-handed, but both sequences are effective thanks to the remarkable capacity of the two actors to turn the heat on and off at will...
...first half is occupied by the cheap and easy device of an extended flashback of Vincent's childhood, complete with voice-over by Hawke. A clever O. Henry plot twist near the end is spoiled by the stupidly predictable confrontation that follows; the love story feels grafted onto this loveless world for Hollywood purposes; and the ending, perhaps inevitably, is a let-down, its tone of solemn optimism recalling the blandly humanistic "this is only the first step" resolution of Contact...
...Song of the Year trophy for Strawberry Wine, co-written with Gary Harrison. That was a ho-hum: the Nashville scribe has penned prime bedroom and barroom laments for Reba McEntire (Last One to Know), Trisha Yearwood (XXX's and OOO's), Martina McBride (Wild Angels), Patty Loveless (You Can Feel Bad) and other country thrushes. But that same night, Berg sang Back When We Were Beautiful, about a widow recalling her one and only love, and put so much ache and age into it you could hear a collective heart breaking. Now, with the release of the CD Sunday...
...important, irascible figures in rock, had whom? On Time Out of Mind, his first CD of new, self-penned material in seven years and his most consistently rewarding album since the '70s, Dylan seems to be haunted by an imaginary, unnamed muse who has come and gone, leaving him loveless and listless, feeling out of fashion and out of time. The situation is desperate, but the album is cathartic and ultimately hopeful: there is salvation, and it comes from within. Dylan's fortunes may be changing...
...feminist one, abiding by history's demands: producing heirs, cutting ribbons, walking a conspicuous three paces behind the times. A few years and a thousand talk shows later, she became the Princess Victim, bulimic, suicidal, betrayed by a caddish paramour with a tell-all book, trapped in a loveless marriage. But that image too was fleeting, replaced by a very '90s portrait of a shrewd operator, better at public relations than all the palace spear throwers. By the time she agreed to a divorce, she had embraced the American notion that marriage is more about self-fulfillment than sacrifice...