Word: odes
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...Troy Duffy’s 1999 film “The Boondock Saints” was skewered by critics and largely ignored by audiences upon release. Written as a knee-jerk reaction to the crime and moral depravity unfolding just beyond Duffy’s front door, his cinematic ode to vigilante justice took years to garner a solid following. Slowly seeping into the lexicon of frat houses across the nation via limited re-releases and DVD distribution, the bullet-riddled spiritual journey of the MacManus twins eventually drummed up a large enough fan base to warrant the production...
When viewed as an ode to New York, however, the film takes on new and energetic light. Hipster bakeries, loudmouthed pedestrians giving anyone and everyone a piece of their mind, alternate side parking, cramped rent-stabilized apartments, class envy and entitlement, annoying tourists—the movie spares no detail in its panoramic coverage of the busiest city in the world. The film’s New York setting enhances the tumult of Eliza’s many mishaps, and provides moments of unexpected fun—most notably Jodie Foster’s hilarious cameo as a fellow...
Indeed, at its heart, the film is as much a meditation upon the rapid pace of city life as it is an ode to the exhausting yet rewarding experience of being a mother. Musing on the fleeting nature of both a child’s formative years and the ever-changing urban landscape, Thurman grows introspective. “When you’re with your child, you’re in this moment, you’re holding on to it, but the world is changing all around you,” she says. “They?...
Often lifting stray lyrics and imagery from obscure folk songs, the bulk of Dylan’s work thus far has played out like a cryptic cut-and-paste ode to Americana, complete with rowdy railroad men, brassy broads, dirt roads, and plenty of cigarette smoke. Atypically relinquishing song-writing duties on “Christmas in the Heart,” Dylan refrains from dramatically reworking the classics, instead blending his unique brand of gravelly gravitas with the schmaltzy sound of sleigh bells to surprisingly pleasant effect. Hilariously backed by a perfectly earnest bunch of session singers, Dylan?...
...someone unaware of where one track ends and the next begins, “Part II” might pass entirely unnoticed. It does, however, serve as an excellent segue into “Part III (Redemption),” which starts slowly and builds achingly into an ode to new beginnings. Bellamy’s vocals have never felt quite so heartfelt as they do when “Part III” reaches its climax, and he pleads, “Why can’t we start it over again?”As one, 12-minute...