Word: climax
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...timpani rolls, all of which punctuated violin parts frenetic enough to break a few strings along the way. The brass section was assertive and bold, but never shrill in its approach, inserting sarcastic staccatos in the most traditionally irreverent of places. Luisi urged the ensemble to a pleasantly deafening climax, raising questions as to why the BSO doesn’t program entertaining pieces like these more often...
...grievances. Her Krasinski-scripted loneliness does not have the same stark impact as that of her friend Harry (Benjamin Gibbard of “Death Cab for Cutie”), who uses Wallace’s words to confess the way he feels when his girlfriend is about to climax during sex: “This moment has this piercing sadness to it—of the loss of her eyes. I become like an intruder...
...plot that, for their sheer monotony, never seem important. The truth behind the robbery and Joan Klein’s identity are both revealed so slowly that the value of surprise is squandered. None of the three protagonists are ever completely invested in the novel’s seeming climax, rendering much of the book’s attention to plot somewhat irrelevant. One passage exemplifies Crutchfield’s divided attentions throughout the novel. “Memo: work on your mother’s file. Query the Racine PD. Memo: your case file is updated. Your case...
...full of pain. Indeed Ellroy succeeds at bringing that point across through the macabre events of “Blood’s a Rover.” Yet, it seems clear that he could have used less words to create a sense of suspense and anticipation for its climax, without sacrificing that message. Instead, when the long-awaited climax arrives, the reader is so distracted by all the unrelated corruption and death that the answers to the puzzle do not seem very important. Such strengths and shortcomings leave “Blood’s a Rover?...
...Brave One, Untraceable and other examples of revenge gorenography. The genre was launched with the 1962 Cape Fear (and its John D. MacDonald source novel), whose killer not only tracks down the lawyer who prosecuted him but terrorizes the man's wife and child. The movie's sobering climax - the lawyer refuses to kill the killer, because he will not be reduced, even in extremis, to his animal impulses - was rectified in the 1991 Martin Scorsese remake, where wily psychopath Robert De Niro dies several times. The same year, The Silence of the Lambs brought the genre its essential wrinkle...