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While Palmieri did not step on the stage until after intermission, the concert was clearly all about him. José Masso, the announcer and producer of “¡Con Salsa!” a Latin music show on WBUR, opened the second half of the performance with a tribute to Palmieri. After the intermission, every piece Palmieri played was his own original composition, except for “Jazz Impromptu” which was composed by Lynch...

Author: By Sanders I. Bernstein, CONTRIBUTING WRITER | Title: ARTSMONDAY: Palmieri’s Jazz a True Delight | 4/15/2007 | See Source »

...cynically) argued that their product was probably no less authentic than more respectable entries in the field. Indeed, in the aftermath of their effort, Irving has often insisted that theirs was a terrific book. Whether or not that's true, both Gere and Molina are themselves terrific as the con men. Gere persuasively portrays a guy whose confidence blossoms as he makes the discovery that as his lies grow so does the ease with which he tells them...

Author: /time Magazine | Title: Imperfect Trio: The Hoax, Fracture and Perfect Stranger | 4/13/2007 | See Source »

CATCHING UP WITH ... Con...

Author: /time Magazine | Title: Cheat Sheet | 4/12/2007 | See Source »

...lawyer makes you believe the truth," says attorney Doug Rich (Eddie Izzard) in THE RICHES, FX, MONDAYS, 10 P.M. E.T. "A great lawyer makes you believe the lie." Doug knows whereof he speaks because he's not actually a lawyer. And he is not actually Doug Rich. He is con man Wayne Malloy, who with wife Dahlia (Minnie Driver) and kids have taken over the swellegant life of a man who died en route to his new suburban home. As Wayne tries to scam his way through corporate law, Dahlia adjusts to straight suburban life and the kids...

Author: /time Magazine | Title: Cheat Sheet | 4/12/2007 | See Source »

...errors alike, introducing the audience to a cast of likeable but one-dimensional characters who (like the whole of the movie) are initially amusing but fail to develop depth. Stanford’s Rugged is a weasel of a man, so insecure and pathetic that his rapid-fire con-man act sounds more pitiable than convincing. Schneider’s Lagrand is a one-trick pony of affected mannerisms—a special-ed voice and a twitching hair flip—that becomes seriously annoying by film’s end, since he has copious camera time. In terms...

Author: By Mollie K. Wright, CRIMSON STAFF WRITER | Title: Live Free or Die | 4/6/2007 | See Source »

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