Word: regretful
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Hopkins, on the other hand, is terrific as always. As a man trying to make peace with his past mistakes, he seethes with regret and repressed anger. Slowly, however, Hopkins realizes that he is not a doomed soul. Time and time again, he steals the scene from Pitt and Forlani, turning the movie's overblown romance into background fodder for his own personal drama. When Hopkins says to Forlani, "I have no regrets; no regrets," before his time is about to run out, we believe...
...strangers. Lea's uncle, Steve Leonard, for example, has nothing against hunting. But he gave up the sport at age 16 after he made a poor shot at a doe and only wounded it. "I had to shoot two more times to knock it down," he recalls, the regret still raw in his voice. "And when I got close, I saw it still wasn't dead, and I had to shoot it again in the head to stop its suffering...
Still, there is something coolly mesmerizing and wonderfully disturbing about the CD. Beck's lyrics, though elusive, are not nonsense. They obsess about issues of death and decay, and they strike at something deep, evoking feelings of sadness, melancholy and regret. "A worm of hope/ a hangman's rope/ pulls me one way or the other," he sings on Cold Brains. On another track he sings, "Treated you like a rusty blade/ A throwaway from an open grave...
TOKYO: At a Japanese town hall meeting on Thursday, President Clinton switched to the carrot. "We regret that you have the present economic challenges that you have, but we don't think you should be too pessimistic about the future," Clinton told his subdued Japanese audience. "Don't be discouraged, but do be determined. That would be the advice of a friend." It was a far cry from Wednesday's nagging; TIME White House correspondent Jay Branegan says that's because Clinton -- unlike, say, Al Gore -- knows the fine art of diplomatic massage...
...Roth has written it. Awriter that is not overtly philosophical, who doessplay his brilliance on some cyber-velocitywindscreen, who certainly does not try to seemcorrect or even revolutionary, Roth always does anamazing job of talking about important things. Inthe present case, that important thing is growingold, without regret but without forgetting thepain. The fireworks and the turgor of MickeySabbath are missed in Ira Ringold, but the radicalmaturity of Murray Ringold manages to stand intheir place. Pervertedly healthy Roth's MurrayRingold interrogates the past as if he still hadtime to learn from it (He dies two months afterthe story's present...