Word: viewer
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...Roberts,a political movie released in the heat of a presidential election year, entices and entrances the viewer as it skewers the senatorial candidacy of its title character, a right-wing folksinger and fencing enthusiast...
...kiss through layers of cloth in The Lovers (1928), or The Titanic Days (1928), his image of attempted rape, in which the bodies of the terrified woman and the attacking man are fused together as in a grim photographic overlap. Often his color is extremely beautiful, though the viewer, intent on the visual conundrums, may not at first notice how powerful and tender it can be. But as his friend Louis Scutenaire wrote, "Magritte is a great painter. Magritte is not a painter." He had no interest in what the French called la belle matiere, and when he did essay...
THEORIZING THE MOVIE. Morris does not force any of these conclusions on the viewer. He believes that one of the great spectacles the movies have to offer is people sitting around and talking. The visual material he employs to illustrate physical theory is deliberately user-friendly. It does not compete with his splendid talking heads. All of Hawking's friends, relatives and colleagues are located in rooms that look real but are in fact stage settings. There is practical reason for this: controlled lighting. But there is a metaphorical reason too. Each setting is a cosmos, familiar looking...
...ballast to the frivolity. Jokes about air conditioning in Florida and bathrooms in shopping malls are fine as far as they go. But Seinfeld the character remains curiously weightless and remote. His relationship with Elaine -- once romantic, now platonic -- works only because it avoids all the tough questions. A viewer can relate to Seinfeld in all the little ways but none of the big ones. Which makes him a good once-a-week companion -- but probably not a guy you'd want to help move...
...been trying to duplicate herself in other women's images ever since her twin sister died. Director Barbet Schroeder (Reversal of Fortune) sweats too, swathing the mayhem in dusky tones, shifting moods easily from working-girl realism to nightmare melodrama. Yet the piece moves so deliberately that the viewer is able to anticipate the next atrocity, rather than getting thrilled...