Word: static
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Then and Nowsucceeds in conveying the strengths of country music--the feel of good times, the directness of sentiment, the considerable energy and warmth of performances too lively to sound static, but too intricate to be completely improvised. The two main disappointments in the album are its length and range. Both sides combined add up to less than a half hour of music, and none of the songs are triumphs as unusual or moving as Doc Watson's earlier rendition of Gershwin's "Summertime" or as instrumentally demanding as the classic "Black Mountain...
Taluncci unearths the will of all people to political submission, dissecting the lives of Bostonians whose last names begin with letters from A through G. Plugging in to a network of static-ridden, over-priced, meaningless conversations, the director uses three-minute vignettes to cut through the mirage of Boston life. Wiring together the private agonies of the individuals he explores, Taluncci articulates, almost consciously, the poverty of the mass...
Nothing moves. The station has gone off the air, and an irritating static buzz sings out from the radio, infrequently interrupted by clamourous chimings of beeps and rings and bits of voices. She is awake. The tension in her. Struggling to make the decision to move. The tautness increasing. This maddening tension as she fights feeling morbid about paralysis. She wants to love it. It is only that, if she does not conquer it, she will never be able to answer demands upon her. So? She equates abulia with original sin. Not like cigarettes, drinking, etc. She laughs. Come...
...GREATEST disappointment, however, is that the indigent dialogue alone forms the core of the film. Chaplin helped develop motion pictures. He was both champion and master of movement within the frame, yet Limelight is a static film. In 1931, Chaplin wrote, "The sudden arrival of dialogue in motion pictures is causing many of our actors to forget the elementals of the art of acting." He made both City Lights and Modern Times out of mime and motion in the 30's, when everyone else was making talking pictures, and he later made two films where dialogue was carefully integrated with...
...novel's situation-it is too static to be called a plot-seems better suited to one of Harold Robbins' meat operas than to the work of a man who once won the National Book Award (for Steps) and who is now a professor of prose and criticism at Yale. Kosinski's hero, Jonathan Whalen, is sole heir to one of the nation's great industrial fortunes, and to a remarkably ordinary set of psychological wounds. Whalen's father, a tycoon now dead, gave his son insufficient attention, and seems thereby to be the villain...