Word: dooms
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Dates: during 1980-1989
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American representative Simons said thatnuclear arms negotiations must be linked tobroader tensions stemming from Soviet involvementin "third countries" and human rights violations.The Soviet officials, however, claimed thatnuclear arms negotiations would be conductedbetter an a matter of highest priority and thatother issues should not doom efforts to reducenuclear arsenals...
With Rourke shambling smartly toward his doom, Bonet radiating elfin sensuality, and De Niro looking natty with his fancy jewelry and sulfurous smile, Angel Heart holds the mind and eye throughout. To be sure, even the most attentive viewer may still have one small question at the end: Whodunit? (Frankly, we think it was a satanic frame-up.) It is a question that could provoke more profitable debate than the needless fury raised by the rating board's attempted Heart transplant...
Ronald Reagan, on the other hand, summoned us with trumpets. He peddled once again the old myths, offering himself as evidence that they were true. Reagan swept into office attacking his predecessor's "gloom and doom," telling us we could painlessly remake history and return to an earlier, idyllic time. That time, though, never existed. Reagan, like most Americans, was nurtured on the largesse of big government. He owes his careers in movies and politics to great corporation and manipulative political managers. His vision of "morning in America" was never more than our dream of a past that never...
...this musty, dusty atmosphere of doom that director Peter Sellars '80 is trying to drive away with his production of Handel's Julius Caesar. Updated, polished, and stocked chock full of yucks, in Sellar's hands this baroque warhorse becomes a close cousin of a Gilbert & Sullivan operetta. Or two or three or four operettas. This production is four hours long. Granted, Handel wrote music as God meant music to be, but the theory that "Excess is best" holds only for sex and money...
...stringy, with an occasional lumpy mass that may once have been a theme or plot twist now rendered unrecognizable by incompetent writing. Sweettable is talking-head drama of the worst sort, in which portentous declamations about the feel of people's thighs, memories of blue centaurs, the lips of doom and similar psycho-symbolic claptrap gets tossed willy-nilly at a justifiably mystified audience...