Word: phantomed
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...sensibilities. Brody’s Wladek Szpilman, who could hardly have picked a worse time and place to be Jewish, transforms from cocky concert pianist to starving phantom hunted by Nazis after escaping death in the bombed-out ghetto. The film soars briefly as it reflects on the redemptive power of music and the Szpilman’s commitment to survival; it stumbles badly in its misleading depiction of universally heroic Poles and in its sympathy for an officer of Hitler’s vicious army to the east. Winner of this year’s Academy Awards for Best...
...siege of some anonymous Iraqi outpost outside an irrelevant southern city. I watched three American tanks fire their chain guns into a berm for about an hour, supposedly rooting out an Iraqi tank. But the only thing I could see on TV was flying sand. The phantom tank disposed of, American tanks eventually turned their attention and guns toward the snipers in the building...
...impact of a struck match. The screen flared to life; suddenly there was heat, and the incense of sulfur. To see him as the hurtful teddy boy in Days of Being Wild, the proud warrior in The Bride with White Hair and the dominant demon romancer in Phantom Lover is to realize there's nothing more exhilarating than a trip to hell with him at the wheel...
...performance in Roman Polanski’s Holocaust drama almost compensates for The Pianist’s inconsistent tone and distasteful political sensibilities. Brody’s Wladek Szpilman, who could hardly have picked a worse time and place to be Jewish, transforms from cocky concert pianist to starving phantom hunted by Nazis after escaping death in the bombed-out ghetto. The film soars briefly as it reflects on the redemptive power of music and the Szpilman’s commitment to survival; it stumbles badly in its misleading depiction of universally heroic Poles and in its sympathy...
...performance in Roman Polanski’s Holocaust drama almost compensates for The Pianist’s inconsistent tone and distasteful political sensibilities. Brody’s Wladek Szpilman, who could hardly have picked a worse time and place to be Jewish, transforms from cocky concert pianist to starving phantom hunted by Nazis after escaping death in the bombed-out ghetto. The film soars briefly as it reflects on the redemptive power of music and the Szpilman’s commitment to survival; it stumbles badly in its misleading depiction of universally heroic Poles and in its sympathy...