Word: burt
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Dates: during 1990-1999
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...Nazi occupiers (Lacombe, Lucien, 1974) and child prostitution (1978's Pretty Baby, his first American film, which also launched Brooke Shields). Yet Malle's high-voltage subject matter contrasted with an often reflective style that reached its apex in his second American film Atlantic City (1981), which starred Burt Lancaster as an aging hood playing out the role of dashing outlaw that had eluded him in his youth. His oddest film was 1981's My Dinner with Andre, a 110-minute conversation in which two friends wrestle with transcendent issues and nouvelle cuisine. But Malle called Au Revoir les Enfants...
...sides of the Atlantic, Malle feelingly but frankly explored such difficult topics as incest (1971's "Le Souffle En Coeur") and child prostitution ("Pretty Baby", his 1978 American debut). Yet his high-voltage subjects contrasted with an often reflective style, captured in his stateside success "Atlantic City" (1980), starring Burt Lancaster as an aging hood, and 1981's "My Dinner with Andre", in which two friends wrestle over the earthly, the transcendent, and some painfully nouvelle cuisine. Malle called "Au Revoir Les Enfants" (1988), an autobiographical account of Jewish children hiding from the Holocaust at a French Catholic School...
...charged by the Bureau of Land Management and the U.S. Forest Service, grazing rights that in turn can be sold for several times their cost to private grazers. Sounds like a government handout to me. Carver chose his life-style of self-sufficiency. Fine. Stop whining about it then. BURT BRADLEY, Decatur, Georgia...
...roles of Phyllis and Bishop are extremely difficult, spanning the full range of emotion from slapstick to criminal insanity, and they are mostly handled well by Sarah Burt-Kinderman and Ryan McCarthy. Though McCarthy is unconvincing as the young Bishop--his stuttering remains an irritating mannerism rather than evidence of his inner conflcits--he plays the older, savage Bishop with the necessary energy and conviction. His long, shouted monologue about masturbation would sink the play if presented without utter confidence; fortunately, McCarthy is equal to the task. While it is troubling that McCarthy remains in that one loud register...
...Phyllis, Sarah Burt-Kinderman progresses nicely from vain air head to vamp to madwoman. Her sarcastic banter with Bishop in the play's first scenes has something, appropriately enough, of Katherine Hepburn's archness. She is especially impressive in the rape scene, where Phyllis' revulsion and hysteria are truly disturbing. Even in the play's worst scene, in which Phyllis recalls a nightmare about fat men in skirts which comes dangerously close to moralizing about sexual intolerance, Burt-Kinderman is effective and at ease...