The real problem at the core of the movie seems to be restraint: Luhrmann has none. In fact, the film is packed so full of confetti and sex that there seems to be little room for one key element: the source text. This makes for an entertaining film, perhaps, but not for a successful adaptation of one of the great American novels.
Against all reason, Beam and his 11-piece band stay true to this newfound and problematic musical formula of “more is more” throughout the album. Troubling musical experimentation aside, the true disappointment of this album is the flatness of Beam’s lyrics.
Although Director Scott Derrickson’s new work doesn’t awe, it offers enough shock and punch to keep watchers from giggling at the standard horror movie absurdities that it sometimes employs by necessity.
On Sunday, April 29, poetic stylings as different as those of e. e. Cummings, Class of 1915, and Wallace Stevens, Class of 1897-1900, will meet during the event “Poetry at Harvard: A Love Story” in the Agassiz Theater.