Word: gere
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Dates: during 1990-1999
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...refine Will after the show's pilot. ("No gay man had hair like Will's, really long in the back," jokes Seomin. "He looked like Jerry Seinfeld.") Certainly much of the biting banter and in-jokes of W&G--"I haven't seen a kiss that uncomfortable since Richard Gere and Jodie Foster in Sommersby"--would be unimaginable in the era of Three's Company's fairy jokes. Some shows even cultivate what you might call a gay sensibility. HBO's heterosexual (and how) sitcom Sex and the City regularly broaches sexual gray areas, taking the perspective, less broadly embraced...
...relationship books that is longer than most relationships, detailing how to find the love you want, how to get married and how to create, and try to maintain, those "positive illusions." In our popular culture, marriage seems to flow naturally from romance--Julia Roberts keeps running off with Richard Gere. Americans love to get married, but half our marriages don't take. Then we switch partners and remarry, with roughly the same odds of success...
...single villain, but Runaway Bride splits evil in two and then sets its male and female halves at one another's throats. Julia Roberts as Maggie Carpenter is everything a man can fear in a woman: pretty and sweet but a heartbreaker of the first order. Richard Gere plays her male alter ego the cynical, emotionally distant, and self-assured journalist Ike Graham. Had director Gary Marshall simply let these two archetypes battle it out on the farm fields of Maryland, all might have been well. But inevitably, Maggie and Ike leave their fairy tale roots behind and fall...
...want-my-money-back award of the summer. Even five screenwriters couldn't come up with a decent joke--the only good gag was so contrived that a FedEx truck had to appear out of nowhere for the damn thing to work. And poor Julia Roberts and Richard Gere. In Pretty Woman, they both clicked so perfectly--man meets hooker, man falls in love with hooker, hooker becomes princess. In Runaway Bride, it's more like schmuck meets ditz, shmuck falls for ditz, ditz remains confused. And come on, that scene in the bride shop where Gere tries to recapture...
...waits until the last minute is another matter, but that's the conceit director Garry Marshall obliges us to accept, and it's no more strained than the premise Roberts and Gere worked so successfully for him in Pretty Woman. They're all good at diversionary sleight-of-hand. Roberts' tentativeness is charming; she knows what she's doing, fights it, then succumbs with sad but perky resignation. Gere puts a nice flaky edge on his incisiveness. The supporting cast, led by Joan Cusack, surrounds them with funny common sense that doesn't fully assert itself until the happy...