Word: seems
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Dates: during 1990-1999
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Unfortunately, many of our economics concentrators seem to have stopped thinking critically about the world immediately after learning to spell that word...
...doubt that the country has arrived at an uncanny cultural and political moment, consider this: John Travolta can do a better Bill Clinton than Clinton can. The President's performances these days are often subdued--seven weeks of stalling and refusing to explain his relationship with Monica Lewinsky seem to have shorted out his emotional connection to America. And now comes Travolta in Primary Colors, the Mike Nichols movie based on Joe Klein's novel about the 1992 campaign, with a portrayal so deeply and exuberantly Clintonian that it reminds you of everything you've ever loved and hated about...
...scene took place in late January, just after Monica Lewinsky had become a household name. The film's main ad line ("What went down on the way to the top") now had a Letterman leer, and the central mystery (Can Stanton cover up an affair with a young woman?) seemed less like satire than prophecy. But, of course, the timing was just a fluke of the Zeitgeist. As Maura Tierney says, "The reality is something very serious, and the movie is something we made in Hollywood, based on a book that came out more than two years ago. It doesn...
...that so much has been made of Bill Clinton's friendships with the Hollywood crowd. It doesn't seem to have done him much good as far as movies are concerned. Whatever else his legacy may be, Clinton will be remembered as the man who was in the White House when Hollywood decided to release one film after another that makes the place a cross between the Playboy mansion and Dracula's castle. Maybe as some kind of compensatory gesture, the movies have also lately given us the President as cartoonish action hero: Harrison Ford in Air Force One, Bill...
Unfortunately, Art is an overrated trifle: one of those small, schematic finger exercises that seem to win critical praise in direct proportion to their lack of ambition. The characters are all too easy to parse: Serge is a modernist but really a dilettante; Marc, a classicist who's a snob underneath; Yvan, an art-naif who goes whichever way the wind blows. The audience has little investment in the clash between them because their friendship seems implausible from the get-go: there's no explanation of how or why they became friends, no real sense of closeness. This might...