Word: cuteness
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...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...
...hero, Oliver Hardy, is hard at work. The child's name is Mickey, in honor of Disney's rodent. The fearful, cheerful creatures in one of his best-known books recall adult visitors almost half a century ago: "They'd say, 'You're so cute I could eat you up.' And I knew if my mother didn't hurry up with the cooking, they probably would. So, on one level at least, you could say that the Wild Things are Jewish relatives." At first those relatives were not encouraging to young Maurice...
...craftsmanship. His characters, while not as clearly defined as possible, are believable, even if their settings are not, and King has the sharp visual acuity of a filmmaker as he shifts time and space to effect. His faults are few, but they're major: he is both overly cute and excessive. The latter is his undoing. He lacks the keen awareness that less is indeed more, pushing his hefty narratives far past the point of credence, and ultimately, enjoyment, as if a book had to weigh a lot to be good...
...early age." With similar insight, Mellow describes how, on unexpected occasions, the child would declaim a line from Richard III: "Stand back, my Lord, and let the coffin pass!" This, Mellow maintains, proves that the young Hawthorne "had a dramatic instinct for the lugubrious." These stories are cute, and like most family anecdotes the first few serve their purpose when no real information survives. Nevertheless, they reveal little of substance about the character of Nathaniel Hawthorne. Like much of Mellow's book, they are unnecessarily detailed and frustratingly superficial...
...Robert Redford and Jane Fonda liberated a Thoroughbred in The Electric Horseman; Burt Reynolds and Sally Field midwifed a pregnant elephant in Smokey and the Bandit II; and now Robert Blake and Dyan Cannon transport a herd of cattle Coast to Coast. This picture follows the standard itinerary: "meeting cute" in Pennsylvania, mutual suspicion in Appalachia, fistfight and car crash in Kansas City, loving and leaving in the Rockies, reconciliation in California. At the fadeout, man, woman and cows are all contented...