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Shelly Duvall achieves a remarkable resemblance to the original Olive. Tall and awkward, her loose outfit and clodhoppers emphasize her rubber-legged shapelessness; the wishy-washy, quavering voice ring true. The other characters are instantly recognizable--but that's it. Comic-strip depth does not suffice for a full-length movie. Swee'pea (Altman's grandchild, incidentally) is an exception--a uniquely expressive and, of course, cute baby...

Author: By Jared S. Corman, | Title: More Spinach, Less Altman | 1/6/1981 | See Source »

That line is all right, within limits. If memory serves, the comic-strip Popeye spent some time in just that...

Author: /time Magazine | Title: Cinema: Comics into Film: Bam! Pow! Eek! | 12/22/1980 | See Source »

Shelley Duvall makes a fine Olive Oyl lookalike, but Popeye, as played by Robin Williams, appears to be undergoing an identity crisis far beyond the powers of spinach cure. As a result, his moral force -and he was once one of the great comic-strip exemplars of righteousness tied to a short fuse-appears sicklied o'er with the pale cast of self-absorption. The rest of the characters-excepting Swee'Pea (played by Altman's grandchild, Wesley Ivan Hurt)-are blurs of lost innocence...

Author: /time Magazine | Title: Cinema: Comics into Film: Bam! Pow! Eek! | 12/22/1980 | See Source »

...stimulated the purchase of executive security equipment. FBI Director Philip Webster and other security specialists believe that as the U.S. recession deepens, disgruntled employees, psychopaths or terrorists will increasingly threaten industry leaders. Corporate security has now become a $7 billion to $10 billion business, and even the aging comic-strip crime fighter Dick Tracy last week was faced with the kidnaping of his old pal Millionaire Entrepreneur Diet Smith...

Author: /time Magazine | Title: Business: Bombs in Books | 7/21/1980 | See Source »

...South House production, ensconced in Jonathan Star's invitingly-blue, comic-strip backdrop, succeeds because it doesn't take itself too seriously. The actors all capture the innocence that each part demands and, at the same time, deliver an untortured and easy-going rendition of their characters. Director Becky Stone leads them through the least playful scenes with a great deal of common sense. She understands that the show's primary goal is to entertain, and wields a strong supervisory hand so that Charlie Brown stays far away from its moralizing potential...

Author: By James L. Cott, | Title: From the Peanuts Gallery | 3/13/1980 | See Source »

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