Word: corliss
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...wanting, having and wearing, in style. But Amy Heckerling ("Fast Times at Ridgemont High") succeeds in getting the viewer to like Cher and her friends even as she pokes fun at them. "Silverstone is a giddy delight, a beguiling performer and an icon for her generation," saysTIME's Richard Corliss. "Catch "Clueless" quickly, though: in the MTV era, a generation lasts about a nanosecond...
...axiom of modern show biz that every scandal is a career move," saysTIME's Richard Corliss. So it is that Hugh Grant may actually have the last laugh after his one-night tour of Sunset Strip. His recent talk show tour to apologize for his encounter with Divine Brown has become very good publicity for his two upcoming films "An Awfully Big Adventure" and "Nine Months." Grant does wonderful work as an actor in the former movie as a vicious, smooth-as-snake-oil director of a theater troupe in postwar Liverpool. Grant is assured, residing inside this rotter...
...century." "Safe" tells of her attempts to understand and conquer her condition at a "chemical-free zone in New Mexico." Moore's beautifully acted performance gives the director the vessel to present his questions about suburbia, the environment and 12-step programs. "The brazen majesty of Haynes' approach," says Corliss, is that "he spills no secrets, makes no obvious judgments. Safe is its own unique thing...
Every work of popular art is political, says TIME critic Richard Corliss, and the good ones are more than that. "Pocahontas," a handsome, deeply-felt animated Disney musical, is a good one. Though the film has drawn fire from critics who say it is not historically accurate, and praise from others for its sympathetic portrayal of American Indians, both sides are missing the point. It's just a cartoon, for gosh sakes, a familiar boy-meets-girl, boy-gets-girl, boy-loses-girl story. And a well done story at that, says Corliss, "a film romance that earns a place...
...start, since millions of readers have already cast and filmed the movie in their heads. And director Clint Eastwood's reticent style is the antithesis of Robert James Waller's romantic tale of middle-age passion. As a result, the film version of "Bridges" is rather different. TIME's Corliss describes a brooding romantic fantasy and a meditation on the anticipation and consequences of passion. Eastwood's generosity as a director and Meryl Streep's remarkable performance, says Corliss, "alchemize literary mawkishness into intelligent movie passion...