Word: underworld
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Dates: during 1990-1999
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...intensity of Helen's eventual departure into insanity. The maternity scene is almost too experimental and strange; while the doctors are supposed to reflect robots, again, emotion creeps into the scene and destroys the rhythm between the dialogue and actors machine-like movements. Similarly, Helen's descent into the underworld, replete with an affair, does not reflect a change of emotional intensity but continues the linear progression of a dissatisfied woman. No new miseries are brought to the audience's attention; if Helen is supposed to be the outsider with feelings, then she fails, for her development is fatalistic...
...many, blessed with the insight that "Banana" is not a designer, and damned with a masochistic willingness to bear the underworld, still head for the designer labels of Filene's Basement. Originally established as a wholesale repository for excess merchandise from the department store upstairs, the Basements "Vault" is a treasure trove of designer clothing. It's all here, gold and Gucci, if a few seasons unfashionable...
Michael Mann loves bad guys. Loves their drive, the snarl in their stare, the swagger they have learned and earned. From his first feature film, 1981's Thief, to the 1995 Heat and his swankily corrosive TV shows Miami Vice and Crime Story, the writer-director has toured the underworld and found it a great place to visit...
...emotional territory of Simpatico, the most recent work by Pulitzer Prize-winning playwright Sam Shepard, is something familiar to Kellerman. His production last year of David Mamet's American Buffalo in the Loeb Ex explored the same realm of underworld deceit and betrayal, the same search for loyalty and friendship that marks this play. That is not to say Simpatico is a large scale retreading of the same dramatic ground Kellerman mapped so clearly last year. Sam Shepard is not David Mamet. He isn't able to maintain the same level of unshaking intensity that Mamet can create...
...Avalon: Underworld...