Word: scene
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
...freshmen came up very big," Ciollo said. "I've been very impressed with the freshmen because of not only their level of performance but also their attitude. They've seemed to adjust very well to the college track scene. We have many freshmen, but it doesn't seem that inexperience is going to be a problem...
What The Cable Guy had, Very Bad Things lacks: a comedic actor working with disturbing material, scenes of psychological violence and moments when the veil of horror is rent, revealing dark humor underneath. What Very Bad Things has, The Cable Guy did not: an ensemble of characters who--despite including pseudo-stars like Christian Slater--never quite mesh, scenes of physical violence and moments when the superficial horror turns out to conceal nothing besides yet more superficiality. And blood. Blood, limbs and gore, in all of their nauseating variations. Here is where Very Bad Things shows itself to be neither...
...manages to charm Susan again, who strangely accepts the fact that the random man from the coffee shop has taken residence in her house and suddenly forgotten how to speak English. Moreover, she manages to flirt her way into a full-fledged romance, one consummated by a sex scene so uncomfortable that it's more nauseating than erotic...
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...
...also unfair to hurl all the blame at Pitt and Forlani. Though the acting might be depthless, neither the script nor the direction manage to offer anything more profound. Martin Brest heaps on the excess--the film literally glitters in luxury (the ending fireworks scene is just unbelievable). But the spectacular visuals simply accentuate the problems in Meet Joe Black; instead of fleshed-out characters, instead of a compelling narrative, instead of subtlety, it offers us lush backgrounds and swelling music. Knowing full well that the movie can't elicit audience response on its own, Brest tries to shove romance...