There is a chance, however, that Kael held her post for too long. She left The New Yorker in 1991, and the reviews from her final decade of work are noticeably weaker. The pieces read quite well on their own, but Kael had lost touch with her audience. She's more likely, during these yuppie-Reagan days, to be irritated with the people in the theater for crying during such “wet kitsch” as Rain Man (“Rain Man is Dustin Hoffman humping one note on a piano for two hours and eleven minutes”).

基于1个网页-相关网页