Word: lovering
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...brings to the job of questioning the woman who's about to walk out on him. In just a few minutes, Larry (Clive Owen) has experienced the first five stages of the cuckolded male: denial, derision, pleading, sobbing, threatening. Now, in confronting Anna (Julia Roberts) about her lover Dan (Jude Law), he atavizes into Caveman, the alpha male in competitive fury. "Where did you make love: What parts of the house, what parts of the body?" "How did Dan perform?" "Was he 'better'?" "Gentler," she acknowledges, depleted by the hard truths he's forcing out of her. "Sweeter." Larry finally...
...opening. Dan, who has been with Alice all this time, is infatuated with Anna (Julia Roberts). She feels the same attraction, and for a few months they've been coupling furtively while keeping lodgings with their significant others. Now comes the messy announcements to Alice and to Anna's lover Larry (Clive Owen...
...terrific that a part-time moviemaker has directed so many films that cogently exploring the language of sex. But it does suggest that the rest of Hollywood isn't really trying. Seeing "Closer," teetering from empathy to exasperation with each of its characters as one would with a real lover, a moviegoer has to wonder: Why can't there be a dozen, a hundred films like this? Where's the good and bad sex in movies? Why can't directors locate where we live, how we love and lie to each other, and get closer...
Jazz pianist Bill Charlap approaches a song the way a lover approaches his beloved. He wants to know its origins, its shape, its moods. He wants to view it from every angle--melody, harmony, lyrics, verse. He even wants to hear about its romantic history--what other improvisers have done with it. When he sits down to play, the result is an embrace, an act of possession. The tune rises, falls, disappears and resurfaces in new forms as Charlap ranges over the keyboard with nimble, crisply swinging lines, subtly layered textures, dense chords and spiky interjections. But no matter...
...Then he saw it and got hooked. Just the storyline - a deformed composer who lives beneath the Paris Opera House and becomes obsessed with a young singer - transfixed him. In the darkness of Broadway's Majestic Theater, at the climax when the Phantom threatens to kill the girl's lover unless she stays with him, Schumacher had an epiphany. "She kisses him. And then - I don't know who came up with this but it was incredible - she kisses him again. And he can't take it because he realizes what a sacrifice she's making. That second kiss...