Word: good
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Dates: during 1980-1989
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...Good Men is at least as good a play as The Caine Mutiny Court-Martial, which it resembles. The production is adroit, and its subject -- the degree to which the military is properly subordinate to civilian values -- has never ceased to be topical. But it suffers from bad timing. Plays that are in essence debates need each side to be able to make a reasonable case. In this conflict between career military "defenders" and soon-to-be-civilian attorneys over the rights of the accused, the imbalance is not in the play but in the minds of audiences. The flood...
...frame, where they were segregated in the old Hollywood, and make them the story's movers and shakers. To that end, Murphy recruited performers he obviously, and justifiably, admires -- Richard Pryor, Redd Foxx, Della Reese -- and cast them as the management of a club too prosperous for its own good. A powerful white mob is trying to move in on them...
...worst idea is his own character. His box-office power having brought Paramount groveling to its knees, offering him any indulgence he wants, Murphy has come to fancy himself a killer, and that is the role he tries to play here: a psychopathic hit man. He is not a good enough actor for this particular assignment, nor has he the skill as writer and director to use cold-blooded murder (three times) as the topper for gag sequences. Once or twice his former sweet hipness glimmers through, and he has written a funny bit for his pal Arsenio Hall, playing...
Also, it's just good business. The inability of ((Latin American)) countries to pay their debt has created another problem that is even more damaging than the debt burden itself: an inability to import. Yet our countries are a market . that is indispensable to the growth of the industrialized nations. So resolving the problem of debt means opening markets to the industrialized countries...
...dealer Bo Alveryd, who last month spent $70 million at three London galleries (Marlborough, Waddington and Bernard Jacobson) before moving on to the New York fall auctions. There he underbid the $20.68 million De Kooning and bought, among other things, a Johns for $12.1 million. "I thought Saatchi had good intentions," Scully says. "Now it turns out that he's only a superdealer. These guys create price levels for themselves. They put one painting in a sale and bid it up to huge levels. And the artist loses control of his work, while his relations with the dealer...