Word: horror
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...right mitigated by circumstances, by how well the two know each other, by how much they've had to drink, by just how much "fooling around" has already occurred. And for too many women, that translates into having the fun and excitement of mutual intimacy turn into the horror of having to plead to be treated as a human being, to plead to save their dignity and self-worth...
...desperation. Halfway through Dylan's unintentionally elegaic performance, my schoolgirl friends stopped drinking, smoking and fondling each other. They sat slumped in their chairs, staring blankly into the vacuous arena. Suddenly, one girl vomited onto the middle-aged couple in front of her. As the couple leapt up in horror, the girls took their ill companion and stumbled out the nearest exit. It is a shame they had to leave so early. Dylan's closing number, "Rainy Day Women, #12 & 35" with its refrain, "everybody must get stoned," brought the crowd to its feet. I'm sure the schoolgirls would...
...This rejection will reverberate through the next hundred years of the outcasts' collective memory as the Disallowing. "Afterwards," Morrison writes, "the people were no longer nine families and some more. They became a tight band of wayfarers bound by the enormity of what had happened to them. Their horror of whites was convulsive but abstract. They saved the clarity of their hatred for the men who had insulted them in ways too confounding for language: first by excluding them, then by offering them staples to exist in that very exclusion...
Phyllis (Julie Christie) is sad. A former horror-film star, she spends her days watching her old movies on cassette and brooding about her runaway daughter. Her husband Lucky (Nick Nolte) is...well, lucky--a handyman with plenty of randy women for clients. Marianne (Lara Flynn Boyle) is one of them, feverish with desire for the baby her financier husband Jeffrey (Jonny Lee Miller) is too preoccupied to provide...
...does not indulge in the potentially lurid nature of this subject matter. He chronicles the tale with a dispassionate, removed manner that subordinates the disturbing incest subplot to the larger story. Egoyan appears interested in broader themes than the dark underside of small towns, a theme long exhausted. The horror of The Sweet Hereafter comes from what characters are prepared to do, rather than what they actually accomplish...