Word: objective
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...Scorpion King’s expected high voltage action begins with the film’s very first scene, when the close-up face of a barbaric, toothless man is suddenly whipped from the screen by a flying projectile, a presumably sharp and heavy object that kills him. Happily, projectiles are a motif through the movie, as The Rock and his buddies kill dozens upon dozens of baddies with increasing creativity...
...made her the punch line to an industry joke, when her dialogue was dubbed by Glenn Close. It took a complex role as the frustrated wife in Steven Soderbergh's sex, lies, and videotape (1989) for the actress to show moviegoers and Hollywood that she was an actress. The Object of Beauty, Groundhog Day and Four Weddings and a Funeral solidified her status as a go-to gal to ornament the smarter comedies for grownups. But in Crush, MacDowell is the center of the action and the acting. It's her movie, and she soars with...
...whistle on it. In any other country, profiling would certainly take place in airports, and rightly so. As a frequent traveler, I would understand being profiled in countries where people matching my physical description are known terrorists. I would expect to be treated correctly, but I would not object to being profiled. Countries have to protect their citizens! Wake up and stop bothering little old ladies! NADJA DAVELUY Montreal...
...assembled cubic modules and their dependence on a mathematically predetermined model. Schematic diagrams that are evidence of the work’s interest in seriality are shown in conjunction with several views of the block structures. As Bochner stated, this series is principally about the process rather than the object. Attempting to undermine the accepted minimalist notion championing the “object nature” of art, these objects actually seek to be as visually uninteresting as possible in order not to distract from their purpose as models of a thought process...
This codified riddle of illusionism is taken one step further in the manipulation of his former perspective images through “surface deformations.” Bochner takes the negatives and photographs of his perspective series as the literal object and subject of his next exploration: “I would use the photographs and negatives that I had and treat them as objects. By changing it as a surface, the photo-grid in perspective becomes a map of itself through deformation and crumpling. I had a photograph developed, soaked it until it dissolved, let that dry and shrivel...