Word: glitterful
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Dates: during 1990-1999
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Twinkle, twinkle. The tiny white lights glitter in the ficus trees by the pool at Skybar in the Mondrian Hotel, Los Angeles' latest shrine to the good life. At 10 o'clock on a weeknight, poolside is alive with people drinking and smoking and looking superb. Some are rich, but many more are having fun pretending. Five years after rioting tore this city apart, they are lounging on huge, posh communal beds, sipping their drinks, floating in the bubble of this long good run and wondering, some of them, when it will burst. They thought the crunch was coming when...
...whose hair is streaked with orange, is wearing boldly-striped bell-bottoms, a zippered shirt and glitter on his eyelids...
...entrance: WOODY HARRELSON, who pulled up in a white stretch limo painted with naked women. He was accompanied by LARRY FLYNT, who had earlier been denied a ticket. Harrelson, resplendent in an Armani tuxedo made of hemp (although it looked like every other tux), got Flynt in. Flynt's glitter-encrusted tux, meanwhile, didn't look like anyone else...
...that Pitt and the script cheat a little with his character, not investing him with quite the fanatical glitter a political gunman ought to exhibit. But you have to balance that against the reality of Ford's work--no one half-suppresses, half-reveals strong feelings better than he does--and director Alan J. Pakula's analogous strengths. Pakula (Klute, Presumed Innocent) develops his story patiently, without letting its tensions unravel. At a moment when everyone is saying the studios have lost the knack for making solid, broadly appealing entertainments, The Devil's Own suggests the skill may be only...
...Vincent Patrick and Kevin Jarre) is good about not making too much of this relationship, subtly foreshadowing the betrayal that must come, but allowing these figures room to draw normal human breath. "Pitt and the script cheat a little with his character, not investing him with quite the fanatical glitter a political gunman ought to exhibit," says TIME's Richard Schickel. "But you have to balance that against the reality of Ford?s work?no one half-suppresses, half-reveals strong feelings better than he does?and director Alan J. Pakula?s analogous strengths. Pakula develops his story patiently, without...