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...structured vision of the world from those who just like movies for the fun of it, Kael comes down hard for the fun whenever possible. She thinks that all education in film studies is evil because it gets between a movie and that mythical "response" of the viewer. She thus lacks any consistent set of critical criteria, or any goals for art broader than immediate pleasure. (She even brags about seldom changing her opinion on a film after she has seen it once). The only base on which her criticism stands is her own jumbled psyche. It's no wonder...

Author: By Michael Sragow, | Title: Deeper Into Kael | 4/23/2004 | See Source »

...culture in his films—on the cool. But Tarantino, the cool director, is not the man who concocted the stunning dialogue of Pulp Fiction, the pulsing narrative of Reservoir Dogs, or the lurching beauty of Kill Bill, Vol. 2. Those films will satiate a cool-deprived viewer, but their genius is the work of a far greater director. Tarantino deserves more credit than his most ardent fans will allow...

Author: By Zachary M. Seward, CRIMSON STAFF WRITER | Title: Film Review: Kill Bill, Vol. 2 | 4/23/2004 | See Source »

Some pieces in the exhibition are quite striking and hold their own without the need of an explanation. Gordon Olson, while investigating the problem of color transparency in three dimensions, created an extremely beautiful plexiglass sculpture that produces different color overlaps and transparencies as the viewer walks around it. Perhaps only as an independent study could Robert Stortz work on his unusual, cylindrical light sculpture consisting of two fluorescent lights encased in pieces of colored plastic. Another piece worth nothing is a metal sculpture done by Tom Costagliola meant to spin under the force of falling water...

Author: By Lydia Robinson, | Title: Ten Years of Problems | 4/23/2004 | See Source »

...structured vision of the world from those who just like movies for the fun of it, Kael comes down hard for the fun whenever possible. She thinks that all education in film studies is evil because it gets between a movie and that mythical "response" of the viewer. She thus lacks any consistent set of critical criteria, or any goals for art broader than immediate pleasure. (She even brags about seldom changing her opinion on a film after she has seen it once). The only base on which her criticism stands is her own jumbled psyche. It's no wonder...

Author: By Michael Sragow, | Title: Deeper Into Kael | 4/22/2004 | See Source »

Some pieces in the exhibition are quite striking and hold their own without the need of an explanation. Gordon Olson, while investigating the problem of color transparency in three dimensions, created an extremely beautiful plexiglass sculpture that produces different color overlaps and transparencies as the viewer walks around it. Perhaps only as an independent study could Robert Stortz work on his unusual, cylindrical light sculpture consisting of two fluorescent lights encased in pieces of colored plastic. Another piece worth nothing is a metal sculpture done by Tom Costagliola meant to spin under the force of falling water...

Author: By Lydia Robinson, | Title: Ten Years of Problems | 4/22/2004 | See Source »

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