Search Details

Word: flashing (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
Sort By: most recent first (reverse)


Usage:

...persistent Michael Winner, who spins out at least a couple of features a year, most recently a vehicle for Burt Lancaster (Scorpio) as well as another one for Bronson (The Mechanic). Here Winner attempts to counterbalance Branson's concrete immobility by immersing him in a plot full of flash and frenzy. It is a mostly futile effort. The script, about a rogue cop, is patterned closely enough on Dirty Harry to be called Grubby Lou. There is a series of slaughters, apparently having to do with mob warfare, that keeps Lou (Bronson) shuttling between New York and Los Angeles...

Author: /time Magazine | Title: Cinema: Quick Cuts | 10/8/1973 | See Source »

...ever to win the Pulitzer Prize), he offered a repetitive, four-character charade running through all the ages and spiritual stages of modern man. Few are charming, none are fruitful, all are lonely and stiff with daily dread. And at each turning, each character is unable to feel the flash of faith, or even the modest touch of terrestrial love...

Author: /time Magazine | Title: Books: Auden: The Sage of Anxiety | 10/8/1973 | See Source »

Wicker handles the technical problems of flash-backs to carry the narrative but his characters are always two-dimensional, cardboard stereotypes: A newspaper man, a senator, his beautiful wife, a political boss who wears green glasses, a collection of local southern politicians...

Author: By Dwight Cramer, | Title: Eaten Up | 10/4/1973 | See Source »

...when she billed herself as "the divine Miss M" and began doing such an act at Manhattan's Continental Baths, a gaily liberated Turkish bath that imports outside entertainment on weekends. But since then, Midler has left the Continental Baths far behind, and her brand of "trash with flash," as she identifies it, has made her a rising pop star of national scope...

Author: /time Magazine | Title: Show Business: Trash with Flash | 9/10/1973 | See Source »

...opening moments of Memories are its finest. The credits flash over a kinetic, desperate dance sequence. The screen is crowded with faces; bodies whirl about to an African rhythm. There is, through all the noise and the music, the suggestion of a gunshot, and suddenly a lifeless body appears in the middle of the dance. The music gathers force, people crowd in, the corpse is lifted away, the dance goes on-and the image freezes on the anxious, frightened face of a black woman staring out into the audience. The scene has extraordinary energy, with its suggestions of abrupt...

Author: /time Magazine | Title: Cinema: Revolutionary Ennui | 7/23/1973 | See Source »

Previous | 49 | 50 | 51 | 52 | 53 | 54 | 55 | 56 | 57 | 58 | 59 | 60 | 61 | 62 | 63 | 64 | 65 | 66 | 67 | 68 | 69 | Next