Word: masking
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...Being underwater is a pretty surreal experience anyway, so the quirks of 3-D seem more forgivable, even fun and whimsical, in this environment. Footage of sharks encountering giant sting rays and turtles casually munching on deadly poisonous jellyfish are viewed through a mask, in the dark; scuba divers see the ocean the same way. 3-D filmmakers have found that objects moving quickly across the screen can make viewers nauseous, but having anything move quickly into your field of vision in the water is startling. Mostly the technology succeeds, however, not because it makes you feel you're underwater...
...effect. The movie seems to put her on display just to toy with her, often in tight close-ups. Zellweger used to have such a distinctive, offbeat type of prettiness, but in this movie she often looks as though she's wearing a sloppily manufactured Renée Zellweger mask...
When it's time to join the fun, kit yourself out with a mask from MondoNovo in the Dorsoduro quarter. Every inch of wall space in this grottolike shop is hung with elaborate masks skillfully handpainted in vibrant colors. "The secret of wearing a mask is to invent a personality for yourself and interact with the people around you," says master maskmaker Guerrino Lovato, whose papier-mâché creations were worn by Nicole Kidman in Stanley Kubrick's Eyes Wide Shut. (See pictures of the glitz and glamour at the Venice Film Festival...
...made near Pittsburgh, Pa., is set in an "inbred mining town" called Harmony, where, years before, a nut in a miner's suit and mask killed a bunch of high school kids with appropriate tools, mainly a pickax. Now he, or a copycat, is again bloodily reducing the population - as if the Rust Belt didn't have enough problems. The principles here are sheriff Axel Palmer (Kerr Smith), his wife Sarah (horror honey Jaime King) and the mine owner's son Tom Hanniger (Jensen Ackles), who was Sarah's beau back in the previously awful day. To secure...
Scratches at the Mask. Wyeth paints a timeless natural world, probing past the facades of nature, where some people only see picnic sites, to a further reality behind. He has sketched countless pencil studies of tiny seed pods as fragilely faceted as snowflakes, made exquisite drybrush watercolors* of bees' honeycombs in winter. Thus he scratches at the mask of nature, attempts by imitation to expose her identity. For Wyeth well knows now one poignant tragedy of man: that he can never know all his world before it vanishes from his sight...