Word: coasters
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...seek out the fun seekers, our 50 writers, correspondents and photographers joined them, traveling across the country, stopping at Tex-Mex food stands, riding hot-air balloons and Giant Dippers and taking on the great outdoors. A roller-coaster aficionado since she rode - and rerode- one at a county fair in her native Georgia, Staff Writer B.J. Phillips last week crisscrossed the country from New York to California, visiting six amusement parks in search of the ultimate ride. Her technique was simple: sit twice in the front car for the view, twice in the rear car for the speed...
...Dunaway plays a programming executive who is without an ounce of compassion; William Holden plays a deposed news executive who gambles on her capacity for love--and loses. Holden is a little dull, but Dunaway and Peter Finch, the crazed commentator, manage to carry off the film's roller coaster ride of high-level network looniness." Well, as veterans of the Lincoln brigade might have said in response to Franco sympathizers during the Spanish Civil war: go to the front yourself and see what line you come away with...
Allen gives himself a wonderfully comic urban background, Jewish and lower-class; the family home stands -shakily-beneath the Coney Island roller coaster. It is all in hopeless contrast with her Wasp Middle Westernism. When the pair finally get to L.A., Allen refuses to see it, as most recent movies have, as merely spaced out. To him, it is actively malevolent-the biggest clogged drain of them...
Eugene O'Neill is a prime example of the roller-coaster ride of reputation. After his popular vogue in the '20s he went into two decades of neglect. Restored to critical approval and public favor in the mid-'50s, he began to mount an Everest of esteem which most of his plays cannot remotely scale. What is wrong with Anna Christie? Just about everything. With the daintiness of a dinosaur, the play, first produced in 1921, wallows in the goo of sentimentality, quavers with the palsy of moral priggishness, and resolves itself in a bogus happy ending...
Landiss's main problem is that he overacts-perhps at Pullum's insistence. Certain scenes reach an emotional level which is entirely too high. The play seems to peak every five minutes, leaving the audience on a lurching roller coaster. And Landiss's method of attaining these misplaced emotional peaks is awkward. It is as though someone told him the only thing an actor can do to increase intensity is talk faster or louder or both. Landiss fails to realize that in many scenes a well-placed whisper can be more effective than an ear-shattering, rapid-fire sequence...