Word: alex
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...premise for a mystery. But a premise is only a promise, and The Morning After fails to fulfill it. Jane Fonda is, to be sure, awfully good as Alex Sternbergen, a near-miss movie star now trying to drink her leftover life away. She has the style of such women, a mixture of tough talk and flighty vulnerability, down pat. The stranger who tries to help her is an ex-cop with a blue-collar manner. Underneath, however, he glows with the middle-class spirit of the New Man: he is wise, patient, a good lover and a better cook...
...Harvard makes it all but inevitable for us to confine our activities to Black students," says the BSA's Braxton. To reach the entire Harvard community during Black History month, the BSA currently puts displays in the basement of Lamont Library, according to Braxton. "You pass Alex Haley and Malcom X on the way to the bathroom," says Braxton, adding that the alternative--putting displays in each of the houses--is impractical...
...Lead Singer Johnny Rotten and the band's manager Malcolm McLaren. They defined the attitude of punk music; Sid and Nancy were just the creatures that lived and died under that rock. And since they begin in life's gutter, their fall into the sewer is a boring given. Alex Cox's movie (from a script he wrote with Abbe Wool) is a 111-minute moral limbo dance: How low can you go? Underground, if you want, but don't expect anyone to follow...
Some CAST members say that there is a dearth of roles for Black actors in campus productions, citing a problem which many minority actors face in Hollywood. Unless the script specifically calls for Black characters--like Shakespeare's Othello or Alex Haley's Roots--Blacks usually aren't cast into plays. That's why Black CAST was created in the 1960s, says Sams, who calls the organization an "alternative drama experience...
...provoke a twinge of concern. Does Sargent signal a retreat from the standards the Whitney has battled for -- the commitment to glitz that gave us the 1985 Biennial, the taste for inflated prettiness set forth in its Alex Katz retrospective, the reluctance to edit that made Eric Fischl's show such a letdown? True, Director Tom Armstrong valiantly tries to establish a link by pointing, in a catalog note, to Sargent's "highly expressive manner and his treatment of subject matter and narrative content, all of which are of great interest to contemporary artists." However, Sargent's "manner...