Word: comical
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Dates: during 1990-1999
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...breed of Disney animated feature. This is, in part, a war movie that understands loss, desolation, death. Power and discipline are the motifs here: bending your will and others', bending the system while working within it. The villain, a crazed, WWF-style hulkster named Shan-Yu, has no comic irony softening his brute trapezoidal lines. He's just an evil machine with vampire teeth. The Wall, the vast plains and hills, the Forbidden City itself, all cringe at his shadow...
...lithe and inventive physical comedian, and her famous slapstick bits--trying to keep up with a candy assembly line, stomping grapes in an Italian wine vat--were justly celebrated. But she was far more than a clown. Her mobile face could register a whole dictionary of emotions; her comic timing was unmatched; her devotion to the truth of her character never flagged. She was a tireless perfectionist. For one scene in which she needed to pop a paper bag, she spent three hours testing bags to make sure she got the right size and sound...
...Hill (whose Bobby Hill, all perfect circles and mute yearning, is the anti-Bart). The Warner menagerie--Bugs, Daffy, Tweety, Wile E. Coyote--energized three decades of Saturday matinees. And when cartoons invaded TV, creatures from Bullwinkle Moose to Tex Avery's Raid insects kept alive a hallowed comic tradition. Bart fits in snugly here. As he once cogently boasted, "I'm this century's Dennis the Menace...
...then, everything had changed, collapsed, coalesced. An early fissure appears in 1951, when Brando brought Stanley Kowalski to the screen; the great beast was unleashed. With the mid-'50s eruptions of lurid B movies, Harvey Kurtzman's Mad comic book and the onslaught of rock 'n' roll, the revolution was born. Now teenagers were the social arbiters, and their pleasure was to love stuff their parents hated. They renounced grownup culture (which was turning pappy and repetitive) for a language of their...
...output was always prodigious, prolific, protean, profound and even, in his self-portraits, prognathous. An artist of staggering versatility, Glimp refused to be chained to one medium. He turned out paintings, novels, plays, operas, ballets, film scripts, poems, TV commercials, recipes, roadside billboards, monogrammed handkerchiefs, rebuses, a surrealist comic strip titled Emil the Talking Bladder, and the gigantic, brightly colored mounds that he wittily called Alps--so massive that the plaster of Paris used to construct them had to be poured over four-story buildings, often trapping the hapless occupants inside...