Word: phantomed
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Anticipation is often the best part of romance, including the form of ardor known as movie love. The dictum applies with its greatest, most poignant force when a sequel to a beloved series is finally unveiled; recall the shrugs and recriminations at the arrival of The Phantom Menace. The Indy franchise never reached the heights of Skywalker mania. It was just (just!) a trilogy that both tapped the innocent vigor of old B-movie serials and turned them into sophisticated thrill machines. Raiders and its progeny were fun without being facetious; they moved with the speed and power...
...backing bands for nearly 40 years, Danny Federici hardly reveled in the limelight. The E Street Band keyboardist--he played organ, accordion and glockenspiel, as the situation demanded--would arrive just in time for shows, then duck out as soon as they finished, leading Bruce Springsteen to call him "Phantom Dan." He first played alongside the Boss in clubs on the New Jersey Shore in the 1960s, and his signature sound can be heard on many of Springsteen's hits, notably 1973's 4th of July, Asbury Park and 1980's Hungry Heart. Federici was a "pure natural musician," Springsteen...
...That leaves Portman, who has looked stranded in some movies (her turn in The Phantom Menace was especially unfortunate), totally in control in others (do we thank Portman or Mike Nichols for her work in Closer?). It's odd that she plays the wanton Boleyn sister, and Johansson the more demure one, since there's always been a reticence to Portman, the need not to be mistaken for a naughty girl - as if she doesn't realize that the best parts for women are bad girls. She holds back here too, in a part that demands that the stays...
...based alt-rocker named Stew. The other, In the Heights, is a Latin- and hip-hop-flavored love letter to the Hispanic neighborhood of Washington Heights in upper Manhattan. The two shows have little in common except that neither could by any stretch of the imagination be mistaken for Phantom of the Opera...
...release and more like The Jesus and Mary Chain, echoes of the Raveonettes’ pop sensibilities are still audible, most noticeably in the clapping, upbeat canter of “Sad Transmission.” On the remaining tracks, the noise machine rises to the level of a phantom third band member, competing, often successfully, with guitars and vocals for prominence. But the fuzzy new nature of the songs on “Lust, Lust, Lust” is never deafening; muting and reverb are occasionally used to achieve a less jarring sound. The slushy mixture of noise...