Word: synching
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...spread, and leaving lunch aside, stepped into a phone booth and became "The Condor." The transformation is not complete--Redford is rather mild-mannered as a hero, too. When he calls into Central, he becomes a critical cog in the intelligence machine, but he spins a little out of synch. Trying to be his own man, Redford holes up in the apartment of a woman he kidnapped in a sporting goods store (didn't your always hope the man holding a gun in your back was Robert Redford?). Two world powers battle for the Condor, while he humps with...
...John Wayne leading the rescue. Maybe that's all the book is, essentially, but Bakshi seems to exaggerate that which is formulaic and even trite in the books. Moreover, his animations are wooden and lazy -- groups of figures will stand without moving while a battle rages around them. The synch of the lips and sound falters and only for brief moments can you forget that this thing is a cartoon. Bakshi superimposes animation and live footage, washing the whole scene in psychedelic colors, negative images and painted color. Yet for all the apparent flash, Bakshi's imagination runs dry quickly...
...With gaining speed, the dancers throw one another around the stage, while throwing Pippin into breasts and behinds. In one part of the dance, the dancers lower Pippin on and off a series of female dancers who somersault on the stage floor to lie flat beneath him. Right in synch with the dancing, the music accelerates, then climaxes, leaving Pippin alone on the stage with a very drained look on his face...
...lighter and wittier side of Darwin's writings. One of the more entertaining selections in Mostly Golf is "A Musical Cure," written in 1935. It describes Darwin's own experience searching for that elusive rhythm in the golf swing by practising to music. With his swing temporarily out of synch, Darwin writes...
...central problem with Lorenzo Mariani's direction is his mishandling of an obviously talented cast. Both Jonathan Epstein as Morell and Jonathan Emerson as Marchbanks deliver perfectly consistent, self-contained performances; unfortunately, the two characterizations are completely out of synch with each other. Epstein's Parson Morell partakes of the tragic stature of Pastor Manders in Ibsen's Ghosts, a part Epstein played last year. It is a moving, sympathetic portrayal, but its naturalism stands in uneasy contrast to Emerson's frenetic, histrionic, almost self-parodying Marchbanks. As the timid poet, Emerson shrinks, flinches and mugs...