Word: viewers
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Dates: during 1990-1999
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...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...
Commercial breaks offered no relief. Nearly every advertisement was for a 1-900 number featuring a Jenny, Susie or Lisa batting their eyelashes at the viewer. One promised titillating conversations with "Housewives, Secretaries and Co-Eds!" to thrill-seeking phonecallers. There were a couple of ads for the International Hair Club for Men. But I'm sure that men with full heads of hair enjoy sleazy movies and 1-900 numbers...
Director Tim Burton, whose two stars were among the premiere character actors in the last decade, ended up drawing a real psychological drama from what could have been a cliche. By tracing the evolution of a superhero and his superfoe, Burton gave the viewer real insight into the complexities of the comic book legends...
...USED TO BE A BAD WORD. THIS was decades ago, when the creators and consumers of popular culture shared a notion of quality. A good movie possessed wit, style, coherence -- competence. It had a story and stars that persuaded the viewer to get lost in the fiction. Movies did what entertainment was meant to do: suspend disbelief...