Word: ghosting
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
Katzenberg had numbers, not just frustration, to back him up. The top three hits of 1990 had been Home Alone, Ghost and Pretty Woman, with nary a bankable star (though Pretty Woman turned Roberts into one). They were simple tales about people who change: the old stuff of drama, and of Hollywood in the decades when its tinsel glistened like gold. Richard Zanuck quotes his father Darryl, longtime pasha of 20th Century Fox, as saying success in movies boils down to three things: "story, story, story." Zanuck is an independent producer who has defied industry logic and made hits without...
...City's Central Park. PAUL SIMON was back, a decade after his first free concert there, but this time things were different. Unlike in 1981, he didn't invite his erstwhile partner Art Garfunkel to join him. Simon, now the Midas of polycultural pop, seemed determined to banish the ghost of the folk-rock sound that made him famous. Backed by a 17-piece band, he kicked off the show (broadcast live on HBO) with the rousing samba tattoo of The Obvious Child, from his album The Rhythm of the Saints, and kept up the momentum with 2 1/2 hours...
...happens, V.I. Warshawski, starring Kathleen Turner as the private eyeful, is a sorry excuse for a film. It opened last Friday and may be forgotten in a week. But bad pictures as well as good feed the pop-cultural zeitgeist (cf., Fatal Attraction, Pretty Woman, Ghost). And Warshawski shows Hollywood once again scrounging to resolve a lingering dilemma: how to get women into the summer-movie mainstream...
...death and the afterlife, the ubiquitous enigma of TV. The play lampoons official cover-ups: by the time Hamlet's friend Horatio tells people what really happened at Elsinore, everyone believes Fortinbras' concoction about murderous Polish spies instead. The hero puns bawdily about nights with Ophelia's lubricious ghost. But the deepest concern is for the shallowness of modern politics...
Nobody has a life anymore, Hollywood tells us, only an afterlife. By now you are familiar with all those transcendental rehab movies -- Ghost and its spectrally sentimental cousins -- in which people return from the void to get a chance to say (What else?) "I love you." Audiences lose themselves in a teary mixture of awe and awww at these wistful fantasies, which now constitute an entire genre: sigh...