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Use the recent sports scores widget. Lady Bird measures up to rave reviews.

Lady, the birds right fairly

Close Modal Window Hang on for a minute More stories from Kayla Thompson. ACT advice helps preparation for test February 27, Name required Email Address required. Click to cancel reply. Freedom of expression comes under fire.

Lady Bird measures up to rave reviews

West stands by beliefs, will not cower to mob. Questions arise concerning chemical weapon assault assumption. Russian diplomats should be welcomed back. In , there probably were slow dances at proms soundtracked by the song, and the chorus probably sounded like an affirmation of youthful self-belief.

Laurie Metcalf on Lady Bird and the return of Roseanne in the age of Trump | Film | The Guardian

At the risk of angering Americans, it must be put on record that Kenny Rogers is not cool. But The Big Lebowski is cool. He then embarks upon a vision quest involving bowling, Julianne Moore, lots of legs and Kenny Rogers.

And it works perfectly. Just Dropped In is far too cool to be a Kenny original, obviously it was written by Mickey Newbury , but here, for three lysergic minutes, Kenny is the dude.

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The preceding 90 minutes have told the story of Galoup, played by Denis Lavant, a soldier in the French Foreign Legion who seems to be in a happy enough groove with his work: His regimen — both physical and emotional — is spun off course by the arrival of newly recruited Sentain, and Galoup sets about engineering his downfall, even death. The film hums with suppressed desire and rage, and it is music that eventually provides a vent.

He stalks impetuously around a nightclub dancefloor before erupting into a wildly athletic, unhinged set of moves. As he dances, he pauses, before letting the music infect him again: Is he letting off steam?


Is he remembering happier times, or daydreaming of an alternative reality in which he can truly be himself? Is he rejoicing in the dreadful clarity before suicide, or even in some kind of purgatorial disco?

Whatever the case, the scene showcases the heartbreaking, transcendental beauty of Rhythm of the Night, one of the true musical masterpieces of the s. In using rudimentary Europop production, Corona smuggle this sad, yearning song on to the dancefloor; this switches it from passive to active, synthesising and enriching its melancholy into something truly potent.

The greatest ending in cinema, given life by the greatest moment in Europop. Originally penned about alienation at a music industry party, the lyrics make an eerily perfect fit for the infamous ear-slicing scene in which a gangster, Mr Blonde, graphically tortures a police officer, who is strapped to a chair: People leave in disgust.

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