Word: viewers
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Dates: during 1990-1999
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...Welcomes Football Home (FBR) ? CBS is back in the game of broadcasting the NFL with a $4 billion deal that steals the AFC from the Peacock network and brings in the crucial 18- to 49-year-old male viewer. Although the move will almost certainly lose money, in the strange new economics of network TV, it almost makes sense...
...funny and do not sound very good coming out of Woody's mouth, nor does tiresome prostitute humor ("No, no. Hit me, then the blowjob"). Richard Benjamin having sex with Julia Louis-Drey-fus in front of a blind woman isn't funny, nor does it provide the viewer with any insights into the film's characters. Overlong vignettes about murderous, octogenarian Jewish cannibals are not funny, and Woody certainly could have communicated his character's conflicted feelings regarding his religion in a classier (or at least funnier...
...Short Cuts and loads of references to Allen's previous movies, the film never sits still-but it never really goes anywhere, either. For all of its stylistic variety and experimentation--the Peter Greenaway-esque Hell sets, jarring time shifts, jump cuts and film loops--the film leaves the viewer with a feeling of emptiness. It touches upon all of the classic Allen themes, but in its hurry to make an all-emcompassing (and, in the end, annoyingly elliptical) statement about the artist's relationship to his work, fails to develop any of these to the fruition reached in Allen...
...energy in The Sweet Hereafter as the only character not resigned to accept her fate as the sole object of pity in the town. She acts as a balance to Egoyan's chilly sensibility, which keeps the film from descending into pathos but also makes it difficult for the viewer to fully empathize with most of the characters...
...character is the only one featured outside the context of the icy Canadian winter. Everything about the film suggests barrenness. Even the entire color scheme is drab. Although it adds to the effectiveness of the imagery and remains consistent with the film's tone, this tactic further distances the viewer. Egoyan's choices are artistically correct, but often emotionally risky...