Word: conveyance
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Dates: during 1980-1989
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...sexual freedom. On about page 250, we begin to lose track of the number of times Fanny has allowed herself to be raped, humiliated, used, and tortured. Not that our heroine doesn't get turned on once or twice; in fact, one message Jong seems to want to convey is that the once-innocent and always good-intentioned Fanny eventually breathes easily with her sexuality--enough, supposedly, to chronicle the sordid trysts for her daughter, the aforementioned Belinda (not surprisingly, Jong dedicates Fanny to her own daughter). And Jong does hit at some sort of admirable feminine tenacity that allows...
Least likely to admit his mistakes, Olive nevertheless acknowledges his irresponsibility to subscribers and says, "I made some very bad mistakes, and I'm not trying to defend myself." Epps has yet to publicly convey either of those sentiments. As dean of students, he can be forgiven for concerning himself with the personal problems of one of his charges. But as overseer of HDNS, Epps still has almost 1000 subscribers to answer...
...part before, and now looks to have played it out. Huppert, with the freckled, enigmatic face of a sullen schoolgirl, is a tabula rosé on which other directors have written personality. But Pialat is too reticent to give her dramatic motivation, and Huppert is too self-enclosed to convey the orgasmic release that would give her character, and the film, a little life. Alas, Loulou is a corpse, and here Pialat has only graduated from sympathetic scientist to a coroner of sexual obsession...
...financial boost comes not a moment too soon. The company's macho-looking line of four-wheel-drive Jeeps, which convey a sort of L.L. Bean sexiness to suburbanites, helped lift AMC's profits to a record $84 million last year. But sales of the fuel-thirsty vehicles have fallen 41% this year. During the first nine months of the current fiscal year, AMC lost $74.4 million...
...else in the program demonstrates lapidary craftsmanship. Producer Jonathan Powell, Adapter Arthur Hopcraft and Director John Irvin are like glypticians bent on chiseling one perfect series for TV. Hopcraft has retained Le Carré's spare style, which is as tightly drawn as a violin string. It can convey almost as many tones, and it is wonderful to hear what talented performers can do with those laconic, loaded sentences...