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What begins looking like one more film fetishizing violence ends with a palpable, some will say trite, proclamation of self-importance. It is the realization that there is nothing Western culture can do to save the Maori from decadence and decay that they could not do better themselves. By first flinging bits of raw, unfiltered indictments of urban life at its audience, "Warriors" depresses the spirit in order to redeem it with a glimmer of hope in the end. While violence serves a dual purpose, to caress the fetish as well as to sicken the heart, it is the latter...

Author: By Thomas Madsen, | Title: New Zealand Director Explores a Clash of Cultures in New Film | 3/16/1995 | See Source »

Toward the final third of the set, Rancid started to slump. They hit rock bottom with a song about a kid punker who is misunderstood by his parents. It was slow, boring and trite. Fortunately, the slump was short-lived. The crowd needed something pretty exciting to re-ignite it, and got it in the form of the hit single "Salvation." The song generated a furious energy, which was carried through to the end of the set with songs like the oh-so-touching love ballad "Gunshot," and one of the evening's best, "Sidekick." "Sidekick" describes sheer male fantasy...

Author: By Ryan S. Mccarthy, | Title: Rancid Plays No Bones Fresh Punk | 3/9/1995 | See Source »

This is not to say that interactive movies can't be fun. "Mr. Payback" is mildly and mindlessly entertaining. The plots are all the same and all cheesily trite, but because of the nature of the enterprise, that's not really the point...

Author: By Erica L. Werner, | Title: Are We Having Fun Yet? | 2/23/1995 | See Source »

...some ostensible crowd pleasers which did not add artistically to the first set's fine performances. One exception was the tune "Don't Rock the Jazz Boat," a staple of Jones's groups through the years. While Latin beats adapted to the jazz context often come across as trite and excessively happy, Jones metamorphosed the bossa nova of this chart into a menacing Amazonian thunderstorm. Distant rumblings on the toms grew louder and louder during Jones's solo, and as the storm came crashing down, lightning forked through the cymbals and snare...

Author: By Eric D. Plaks, | Title: OUTSIDE THE UMBRELLA | 2/23/1995 | See Source »

Edmunds often moves to formal verse in his longer pieces in The High Road to Taos, , resorting to trite rhyme schemes like, "Farewell, my love, goodbye/Red wine, and oyster pie..." The feeling of spontaneity in exploring a single image, taking a break from the main road is lost. While several small moments of impact may be contained within a single poem, they cannot save the whole from fragmentation...

Author: By Virginia S.K. Loo, | Title: Edmunds Treads Tired Road to Taos | 2/2/1995 | See Source »

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