Word: turgid
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Dates: during 1990-1999
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...Neil Jordan is not a consistent director, but good or bad, his work is never ordinary. Though his last film, the turgid and painfully overwrought In Dreams, was a disaster, there have always been elements of greatness embedded in his work, and The End of the Affair is no exception. It's unfortunate that the film, like many others in the Jordan oeuvre, adds up to less than the sum of its parts...
...wasn't. This week the Senate is expected to consider a bill called the Religious Liberty Protection Act, whose turgid name suggests that what the Pilgrims held dear is threatened in the very nation they founded. Supporters believe that government officials disrupt religious activities even today, despite the First Amendment's crystal-clear language: "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof...
...such platinum innocence. She's the bad girl and good girl combined: she's sharp and sexy yet incapable of meanness, a dewy Venus rising from the motel sheets, a hopelessly irresistible home wrecker. Monroe longed to be taken seriously as an artist, but her work in more turgid vehicles, like The Misfits, was neither original nor very interesting. She needs the tickle of cashmere to enchant for the ages...
...Untitled Rabbit/Comb/Button), have been cast in roles that are alien to their natures. But in his most successful still lives, Untitled (Beans) and Untitled (Sausage and Potatoes), Wols takes his subjects out of our world, while retaining their physical presence (the shine of an over boiled potato, the turgid undulations of a bean's matte surface) and signifiers of the setting (the rounded edge of a table, the gleam of a pan's lid). More alive than the subjects of his portraits, the beans commune and swarm, the potatoes and sausage hold a brief rapport. He destroys the world...
...Meat) and Untitled (Rabbit/Comb/Button), have been cast in roles that are alien to their natures. But in his most successful still lives, Untitled (Beans) and Untitled (Sausage and Potatoes), Wols takes his subjects out of our world, while retaining their physical presence (the shine of an overboiled potato, the turgid undulations of a bean's matte surface) and signifiers of the setting (the rounded edge of a table, the gleam of a pan's lid). More alive than the subjects of his portraits, the beans commune and swarm, the potatoes and sausage hold a brief rapport. He destroys the world...