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However rapidly Reagan may recover, though--and he made a remarkable snap back from his brush with death when an assassin's bullet felled him in March 1981--his health from now on will need close monitoring. Polyps have a tendency to recur; the one removed Saturday was the third detected since Reagan became President. Moreover, as many doctors put it, the kind of intestine that repeatedly grows polyps is the kind that has to be watched for signs of cancer...

Author: /time Magazine | Title: Ronald Reagan: Anxiety over an Ailing President | 4/12/2005 | See Source »

...seemed almost untouchable, able to slough off political barbs and even an assassin's bullet. His luck had grown so legendary that it was tempting to believe he would again beat the odds, that the polyp in his bowel would be found benign. But last week Dr. Steven Rosenberg, the chief of surgery at the National Institute of Cancer, reminded the nation in a single chilling sentence that Ronald Reagan is a vulnerable human after all. "The President," stated the doctor, "has cancer...

Author: /time Magazine | Title: Reagan's Toughest Fight | 4/12/2005 | See Source »

...climax of their interaction is too dramatic for its own good: Farhad’s bewildering decision to kill Daniel is foiled when Daniel’s pre-school-aged daughter literally takes the bullet for her father, complete with a slo-mo Platoon-style wail of anguish on Peña’s part...

Author: By Daniel B. Howell, CONTRIBUTING WRITER | Title: MOVIE REVIEW: Crash | 4/8/2005 | See Source »

Many movies have made violence into art, from the slow-motion bullet ballets of John Woo’s work to the historically poignant impact of Saving Private Ryan. In Sin City, Rodriguez and Miller use a constant stream of savagery to support the movie’s black humor and artful cinematography. Watching the characters “kill their way to the truth” in this film is like pushing Dwight’s car the last half mile of its trip. Cinematic violence can be a high-octane but painfully inefficient fuel, and viewers not thrilled...

Author: By Michael A. Mohammed, CRIMSON STAFF WRITER | Title: MOVIE REVIEW: Sin City | 4/8/2005 | See Source »

Many movies have made violence into art, from the slow-motion bullet ballets of John Woo’s work to the historically poignant impact of Saving Private Ryan. In Sin City, Rodriguez and Miller use a constant stream of savagery to support the movie’s black humor and artful cinematography. Watching the characters “kill their way to the truth” in this film is like pushing Dwight’s car the last half mile of its trip. Cinematic violence can be a high-octane but painfully inefficient fuel, and viewers not thrilled...

Author: By Michael A. Mohammed, CRIMSON STAFF WRITER | Title: MOVIE REVIEW: Frank Miller's Sin City | 4/7/2005 | See Source »

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