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Almost as frustrating as this cardboard characterization is the fact that scattered throughout this rather awful movie are the makings of a very good one.  Director DiPietro is just in the wrong genre. Whenever the film strays into the territory of romantic comedy, it actually works. The lines are funny, the soundtrack is snappy, and the atmosphere is ideal. The actors are winning, if cookie-cutter, and know how to tell a joke. DiPietro is also a very artful showman, able to convey his characters’ emotions through unlikely angles and lush camera work. When his characters...

Author: By Yair Rosenberg, CRIMSON STAFF WRITER | Title: The Good Guy | 3/9/2010 | See Source »

...final dramatic­­­—and clichéd—scene. Through his intentionally flat acting, Gere provides the lifelessness and lack of soul the character of Dugan needs, making the performance quite admirable given the limited role that Gere has to work with...

Author: By Thomas J. Snyder, CONTRIBUTING WRITER | Title: Brooklyn's Finest | 3/9/2010 | See Source »

There are also instances where Lerner’s voice becomes too colloquial. Lines such as “removing the suicide / From the speed dial,” or, “There are some cool pics online,” detract from the other accomplishments of his work. These phrases solely function as a distraction from his more serious and beautiful ones such as, “we could spend our lives / Parting in stations, promising to write / War and Piece...

Author: By Shijung Kim, CONTRIBUTING WRITER | Title: Lerner Attempts to Reinvent Form in ‘Mean Free Path’ | 3/9/2010 | See Source »

...bass, tenor saxophone, and trumpet to the cello, viola, and violin, respectively. Tying the piece together was pianist Jennifer Chen ’11, whose performance evoked the mysterious sophistication of a nightclub. Sheets enraptured his musicians and audience alike, with the orchestra coming alive as they played his work...

Author: By Alyssa A. Botelho, CONTRIBUTING WRITER | Title: 'Scenes' Jazzes Up BachSoc | 3/9/2010 | See Source »

Concluding the evening with Mozart’s Symphony No. 35 in D major, or the Haffner Symphony, BachSoc revealed the careful attention it paid to its selection of the evening’s works. The Haffner Symphony was a surprising segue from “Nightclub Scenes,” as it celebrated the classical period that influenced Prokofiev and Poulenc’s modern works. With Cohler conducting, BachSoc ended the Haffner Symphony with the exuberance that this work demands, as a final display of the refined sound that the orchestra conveyed throughout the night...

Author: By Alyssa A. Botelho, CONTRIBUTING WRITER | Title: 'Scenes' Jazzes Up BachSoc | 3/9/2010 | See Source »

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