Word: brit
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...flat-out comedies, movement means the rapid flapping of a wise mouth. Cartman and his smartass school chums will try talking their way back into the pop zeitgeist with the feature cartoon South Park: Bigger, Longer and Uncut. In Mickey Blue Eyes, Brit blueblood Hugh Grant plans to marry into a Mafia family and has to pass himself off as a Brooklyn gangster. Detroit Rock City, set in 1978, is about four guys trying to bluff their way into a KISS concert. It may remind you of I Wanna Hold Your Hand, made in 1978, about a bunch of kids...
...amateur hockey team, he heard Dusty Springfield cooing The Look of Love on NPR, and images swirled in his mind: fuzzy memories of free love and Nehru jackets, trashy movies like Casino Royale and Our Man Flint. While soaking in Epsom salts that evening, he started spouting randy Brit-speak to his wife Robin Ruzan in what he calls "that well-traveled, jet-setty Englishman voice." She suggested he write up the character. Within three weeks there was a first-draft screenplay. A toothy icon was born...
Drop by Lincoln Center whenever a work by Jerome Robbins is on the program at the New York City Ballet, and chances are you'll see a 26-year-old Brit with a long neck and a big, bright smile. N.Y.C.B. soloist Christopher Wheeldon is engaging and reliable, and he knows how to make the most of a Robbins role. But last week he swapped his tights for a business suit to take a bow with 62 children from the School of American Ballet as 2,000 dancegoers yelled their heads off. The occasion was the premiere...
...excellence. Twenty men (but no women) have received it since Philip Johnson got the first one in 1979; they range from Mexico's Luis Barragan to Italy's Renzo Piano, from Britain's James Stirling to America's Frank Gehry. This year's laureate, announced this week, is another Brit: England's Sir Norman Foster, 63. "Every award is special," says Foster, "but there's only one Pritzker. It's a recognition of the importance of architecture itself...
...Broadway production, directed by Howard Davies, has actually improved a notch since its acclaimed run last year in London, where the cacophony of Brit-style American accents was a bit distracting. Tim Pigott-Smith, as the disillusioned anarchist Larry, is an indispensable holdover, while Tony Danza as the bartender, Michael Emerson as a soused former law student and Robert Sean Leonard as a tormented turncoat are vivid additions. All in all, a potentially grueling evening becomes a breathtaking theater experience...