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...film opens in an emergency room. Medical student David Labraccio (Kevin Bacon) begins an emergency operation on a screaming patient, who seems in need of anesthesia. It is not that oversight, but the oversight of hospital regulations--students cannot operate--that gets the young doctor suspended from medical school. He then reluctantly becomes involved in the experiment because, as he says, he has nothing else to lose. More likely, Labraccio becomes involved because Nelson says he needs...

Author: By Kelly A.E. Mason, | Title: Finally, a Horror Film That Is Well-Made | 8/17/1990 | See Source »

...Bacon gives a competent, if uninspired performance. He is occasionally unbelievable as the committed doctor and friend because he acts with so little passion. He is given too many powerful lines; often, his anguished cries sound more like whines. Bacon, quite honestly, has grown too old to play the emotionally charged youth...

Author: By Kelly A.E. Mason, | Title: Finally, a Horror Film That Is Well-Made | 8/17/1990 | See Source »

...Malta meeting. As soon as the two leaders sat down Thursday morning, the Soviet President gave a gloomy appraisal of his economic woes. He told Bush he realized a trade deal would deliver little immediate practical relief, but added that he needed the political symbolism of bringing home some bacon. Bush reiterated that the U.S.S.R. must first pass a law guaranteeing free emigration, and even then it would be "extremely difficult" for both the Administration and the Senate to approve a trade deal unless Moscow eased its sanctions against Lithuania. Gorbachev protested that he could not do that just...

Author: /time Magazine | Title: The Last Picture Show | 6/11/1990 | See Source »

TREMORS. Kevin Bacon fights off an attack of 30-ft.-long earthworms in this crowd-pleasing sci-fi flick. Shrewdly written, energetically directed and played with high comic conviction, Tremors is bound to become a cult classic...

Author: /time Magazine | Title: Critics' Voices: Feb. 12, 1990 | 2/12/1990 | See Source »

Soon a more European-influenced "bridge generation" expanded the style by incorporating more autobiographical references and symbolism into its painting. Nathan Oliveira, who admired the work of Alberto Giacometti and Francis Bacon, gave his lumbering figures an existential thrashing on splattered, paint-encrusted surfaces. Paul Wonner could capture precise facial expressions in nearly transparent washes of color, or just as easily squeeze the pigment out with the goopy thickness of cake frosting. In Football Painting 2, 1956, Theophilus Brown added blurred images of bodies in motion...

Author: /time Magazine | Title: Art: The San Francisco Rebellion | 2/5/1990 | See Source »

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