Word: eyebrows
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...harassed middle-management type, Elmer Fudd the chronic, choleric dupe. Bugs Bunny (introduced by director Tex Avery in 1940's A Wild Hare) became the cartoon Cagney--urban, crafty, pugnacious--and then the blase underhare who wins every battle without ever mussing his aplomb; one raised eyebrow was enough to semaphore his superiority to the carnage around...
...bankrupt energy giant.) Some scoffed at Dole's declaring her mother's Salisbury home as her residence, when she's a fixture at the Watergate in Washington, where she and Bob have an apartment. And though her campaign had $2.5 million on hand in January, it also had an eyebrow-raising $637,000 in debts, mostly from direct-mail expenses, according to insiders. The big question, though, is whether Dole will get past the scripted, stilted quality that helped doom her 2000 presidential bid. Her announcement on Saturday may offer the first clues...
...which was to name Osama bin Laden as the most dangerous man in the world and fire off a slew of cruise missiles onto two continents in a vain, almost panicky attempt to eliminate him and destroy his assets. Radical Islamists everywhere who might once have raised a skeptical eyebrow at the lofty pretensions of bin Laden's rhetorical tilting at the U.S. suddenly treated him with new respect. It was as if the scale of the Clinton administration's tactically pointless retaliation had confirmed bin Laden's claims to be leading a global jihad against the Americans...
...talented group of actors propel this well-performed production. Sarah I. Meyers ’02 does a wonderful job of making the audience hate her Nurse Ratched. With every condescending raise of the eyebrow, the viewer feels more and more like attacking her, just as McMurphy does. Christopher R. Starr ’03 makes a believably arrogant and influential McMurphy. His performance is enhanced by the mischievously playful smirk that never leaves his face. As Chief Bromden, Yuming Zou ’02 fulfills the role’s stoic requirements. Robert A. Hodgson...
...returning Nino’s lost photo album provides the perfect opportunity for a coy game of girl-chases-boy. This cheerful innocence springs chiefly from Amélie’s adorable impishness, which Tautou conveys almost effortlessly. The slightest smile and the most imperceptible raise of an eyebrow convey so much, whether childlike awe or mischievous glee. In her hands, even an over-the-top line like, “I’m nobody’s little weasel,” comes across with precisely the right mixture of poignance and irony...