Word: viewers
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...then their on-screen chemistry had better sizzle—or at least feel tangible. The layers of intrigue and double-crossing in “Duplicity” are undoubtedly clever and thrilling—at first. But if Claire and Ray barely trust each other, can the viewer trust either of them? After the audience has been duped for the third, fourth, fifth, time, what’s the point? Gilroy has once again flexed his directorial skill and attention to detail, but this fails to compensate for the film’s lack of character development...
...buddy comedies that are among the most reliable of Hollywood moneymakers, or to those prestige dramas, the high-minded equivalent of TV movies, that keep getting nominated for the Best Picture Oscar? These films don't want to establish a hyper-reality, just a familiar reality that brings the viewer immediately into the lives of their characters. Paul Blart, or the kids from Slumdog Millionaire, would not have benefitted from the in-your-lap urgency...
...decline of the networks is of course a bad thing. For the networks. But for me as a critic and you as a viewer, the important question is, Are there better shows on TV or not? The answer is - and has been for years - yes. More important, the answer is yes for precisely the same reasons that the big broadcast networks are fading. (There's also more bad TV on the air because there's more of everything. Unless it bothers you that other people are watching bad TV, this is also not your problem...
...hear the interviews, the viewer must sit down in one of the fourteen chairs placed in the middle of the gallery. Each chair comes with a set of headphones and a written English translation of the interview (originally in French). Arranged in a square, the pattern of the chairs mirrors the display of the interviews on the wall so that one faces the widow head on. It is as if Varda has invited the viewer to the widows’ table, into the secret realities of their daily lives. Varda never appears on the screen when questioning...
...aware at all times of the other viewers and their widows. Focus on one screen does not shut out the others. As the viewer absorbs one tale, images from neighboring stories flicker in and out of his sight. The artifacts from one life—a bed, a photograph, a shot of the salt mines—encroach on the account of another. At times, sounds from the big screen break into the widow’s monologue. So while the widows speak of empty houses and long days spent in solitude, they are never alone in Varda?...