Word: lovesick
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...Hollander is in his 60s. So he's already published 17 books of poetry. So he's a "modern master." So he's definitely not writing for lovesick adolescents. I guess I'm willing to accept that the grandiosity of his technique has a purpose beyond self-conscious display...
...Elizabeth, which traces the early bumps of the title character's Golden Age reign, Fiennes takes a backseat to the Virgin Queen, Cate Blanchett. Again, Fiennes the philanderer takes on the guise of a lovesick puppy who sacrifices everything for his one true thing. His passionate declarations of loyalty play off nicely against the sweet princess turned ice queen. The cinematographic cop-outs distract from the fluidity of the film, as does the production design, which uses color and shadow to beat the symbolic dead horse. That's the curse of the artsy indie, I guess. The film does have...
...husband (Paul Reiser) can't stop rhapsodizing. "I'm admiring a beautiful girl who married me for some reason," he says, and "all I know is that I want to wake up with you naked for the rest of my life." Rush these puppies to the ER--they're lovesick...
...holding on to the claim that Clinton doesn't remember her), but is now free to dissect her varying accounts of what happened in the suite. He should have no trouble exploiting the evidence that the troopers hoped to strike it rich and the picture of Jones as a lovesick puppy hoping to catch Clinton's eye. How will Jones counter that image? She and her handlers scheduled an interview with TIME last week, then canceled it. She may find another forum in which to repeat her tale of woe, or she may wait for her day in court. That...
Every character gets a solo aria or two to set out his or her essential nature: Figaro is clever and good-hearted, the Countess is heart-broken, the Count is imperious, Cherubino is perpetually lovesick. Almost without exception, this cast handles the famous arias beautifully Saccente has a strong voice and stage presence, and none of Figaro's comic nuances escape him; he is excellent in the patter of 'Aprite un po, Figaro's attack on female infidelity, and in the touching final duet with Susanna. Benaim, as the Count, has perhaps the most pleasing voice in the cast, combining...