Word: sweets
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...show host, is ruined and then fired when he's caught taking bribes. His re-placement is the title character, a fuchsia-coated rhino under whose skin lurks the politically correct, morally perfect but terminally nerdy Sheldon Mopes (Edward Norton). Naturally, the axed ex-host wants to off his sweet-souled successor. There's probably a tight, funny comedy lurking in that premise. But DeVito has turned the film into an expressionistic epic in murderously bad taste, all frenzy and feckless subplots, mostly involving ghastly gangland figures. A lot of good actors (among them the divine Catherine Keener) are wasted...
...supranuclear palsy, a rare brain disease; in Plainfield, N.J. A talented classical and jazz pianist, Moore was best known for his roles in the 1979 movie 10 (which he nabbed after meeting director Blake Edwards in a therapy group) and the 1981 film Arthur, in which he played a sweet, wealthy drunk. Spurred to perform by a sense of inferiority stemming in part from a clubfoot, the working-class Moore said, "If I'd been able to hit someone in the nose, I wouldn't have been a comic...
...plastic soul. Now Neil Young is playing with the guys from Booker T. and the MGs, singing melodies ripped from the Otis Redding playbook, adding his own ragged guitar solos and flower-child lyrics: call it all-natural gra-soul-a. It's nearly always a little too sweet, with Young's voice reaching high to deliver heartfelt avowals of love tinged with sadness at the state of the world. A tightly professional backup of organ, mid-tempo drums and precise rhythm guitar keeps him from getting too wild and loose. But most songs go on for too long...
...some listeners, the yearning lyricism of the romantic composers can be painfully sweet, if not unbearably sentimental. Good music teachers often warn their students that romantic pieces are the most difficult to perform because their melodies are so unabashedly pleasing. If played with too much enthusiasm, Schubert can go from heartfelt to mawkish, embarrassing classicists everywhere. But handled conservatively, an emotionally moving piece can feel equally stilted and bland...
Whereas the tendency in Schumann might be to exaggerate every rapid diminuendo and surprising modulation, the trio handled unexpected turns of phrase with elegant subtlety. Besides maintaining a sweet, round tone throughout the tumultuous first movement, violinist Hope reined in his exuberance so as not to drown out the lesser tunes allotted to the cello, played with gusto by Antonio Meneses. Meanwhile, Pressler, a shrunken old man seemingly twice the age of his fellow players, continually reared his head from side to side to check on the progress of the strings, despite the fact that neither violinist nor cellist seemed...