Word: man
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Dates: during 1990-1999
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...hour-long painting on the stage. Yeremin's staging makes every use of this artistic ingenuity. His actors move more like dancers than farmers. Yeremin has a brilliant sense of space, horizontal and vertical. The simple act of swinging in a hammock becomes a study of one man's motion across an empty plane. In Yeremin's hands, the A.R.T.'s corps of performers become points in space--tiny, beautiful additions to the landscape, like the figures in a Hiroshige print...
...meant to act as a magnifying glass, to make the world of social conventions and thinly veiled subtexts appear larger than life. Chekov is the great playwright of the strained relationships humans have with themselves and with one another; looking in Chekov for the larger metaphysical themes of man in landscape that Yeremin's visuals try to evoke is a lost cause. Yes, Ivanov is about loneliness and isolation, but not the loneliness and isolation of standing in an empty field. It's about the loneliness and isolation we can feel when we're sitting in a tiny room with...
...many different things. This reality absolves most of us, but it does not entirely excuse those who are currently asking us to anoint them our leader. Yes, it would take someone truly extraordinary to have earned the admiration of the college's many different communities. But shouldn't the man or woman who represents Harvard's student body be at least marginally extraordinary...
...Story had two problems. First and foremost, the animation, though incredibly detailed, still seemed--well, too shiny. Sure, the toys looked great, but the humans had plasticky visages and seemed cut and pasted from a B-grade video game. The sequel gets it right. Director John Lasseter (the hottest man in Showbiz right now) and his crew at Pixar studied countless pictures of human skin in order to perfectly recreate it--we see Al McWhiggen's pores, his nose hairs, his mild case of adult acne. In fact, Lasseter is so confident in his company's animation capabilities that...
...scene-stealer is Hoffman, who follows up on his fine work in Happiness and Boogie Nights. With his undulating voice and quick reversals of emotion, he nicely portrays Rusty's painful limbo between lonely man and gaudy transvestite. Reading in between his frequently trite lines, Hoffman exposes Rusty's inner vulnerability. De Niro, too, raises his Walt above mere caricature. His subtle expressions reveal the pain of an independent man losing his mobility while his cautious moves towards Rusty make the burgeoning friendship relatively believable...