Word: visualizing
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Dates: during 1990-1999
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...outrageous and crude, the jokes in the Farrelly Brothers' most recent sideshow attraction are also intensely predictable, which keeps the movie from lifting off. Cameron Diaz, Ben Stiller, and Matt Dillon all give their best shot to keeping the ball in the air, but Mary's humor is all visual and only rarely connected to dialogue; poor Cameron could be reciting Rilke beneath those "hair gel"-enhanced bangs and no one would know the difference. Then again, everyone else seems to have had a ball. Whatever there is about Mary, I didn't really get it. --Nicholas K. Davis
Amateur methods may be visual, photographic or electronic, and equipment should be nonprofessional and privately owned...
...films like Amistad, slavery is used as a visual bulldozer, meant to overwhelm viewers through its shocking brutality and painful inhumanity. In Beloved, the highly-anticipated adaptation of Toni Morrison's lauded Pulitzer Prize winning novel, slavery is explored in a much subtler, almost metaphorical fashion. It is an exercise in psychology, exploring the mind of Morrison's steel-willed protagonist Sethe (Oprah Winfrey), a former slave who now lives as a free woman in Ohio in the 1870s. Sethe is a strong woman of fierce determination but she is haunted, both literally and figuratively, by the pain and horror...
Beloved also marks the welcome return of Jonathan Demme, who directed Hollywood's ultimate psychological thriller, The Silence of the Lambs. The Silence of the Lambs was a showcase of visual ferocity, superb camera prowess and raw lyrical power; Demme told the story in such riveting fashion that the film still chills to the bone, even today. Beloved is his first film since Philadelphia in 1993, and while he cannot quite capture the essence of the book here, he still demonstrates the ample talent that helped him win an Academy Award. Demme is still a master of camerawork...
...intensely predictable, which keeps the movie from lifting off. Cameron Diaz, Ben Stiller and Matt Dillon all give their best shot to keeping the ball in the air, but for one thing, their presence is almost arbitrary in many scenes to the extent that Mary's humor is all visual and only rarely connected to dialogue; poor Cameron could be reciting Rilke beneath those "hair gel"-enhanced bangs and no one would know the difference. Then again, everyone else seems to have had a ball. Whatever there is about Mary, I didn't really get it. Nicholas K. Davis...