Word: fight
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
...argue that building a smaller armored force is foolish until key advances have been made, especially in the areas of fuel and ammo, which armored forces devour. Electromagnetic guns, lasers, and new fuel types could allow the Army to achieve its goal of fielding such a force that could fight for two weeks without resupply. But until then, the speed of deployment is mostly dependent on how quickly the Army can set up logistics links. Napoleon's old dictum that an army travels on its stomach remains true today...
Tactically, the U.S. military is at a disadvantage when an enemy won't fight on its terms. Iraq, with its tanks and warplanes, was probably the last foe to make that mistake. The death of 18 U.S. Army troops in Somalia in 1993 showed the perils of fighting a primitive foe. Even though some 500 Somalis died in the battle, the fight was seen as a defeat for the U.S., which withdrew shortly thereafter. Milosevic was the first test case following the Gulf War in which an enemy could choose, more or less, to try to engage...
...terms of Trustmark's policy. "Whether it's a $100,000 charge or a $10 charge, we make our decisions based on that contract language," says Lloyd Sarrel, Trustmark's assistant vice president for benefits. Geisbush, understandably, has bigger things than contracts on her mind. "I'm in a fight for my life," she says. "I shouldn't be having this fight with the insurance company...
...find the call and then ultimately realize what it was. Because Luke works intuitively through most of the original trilogy until he gets to the very end. And it's only in the last act--when he throws his sword down and says, "I'm not going to fight this"--that he makes a more conscious, rational decision. And he does it at the risk of his life because the Emperor is going to kill him. It's only that way that he is able to redeem his father. It's not as apparent in the earlier movies, but when...
...with such skill that it's useless to think of them as anything but an ensemble. And this is exactly what Mamet's piece calls for. American Buffalo is not so much about what happens to these characters as it is about how they interact, how they yell and fight and make up, how they desperately need each other because they have nothing else in the world. His ability to portray this sense of need, this soft underside to Mamet's otherwise brutal play, is Kellerman's greatest strength as the director of this piece. He's found what many...