Word: gorgeousity
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Such moments aside, The Great Train Robbery is a curiously enervated affair. In his previous films, Westworld and Coma, Crichton has shown a gut instinct for creating nasty suspense. His movies looked sloppy, but fiendish humor and scare tactics helped paper over the visual lapses. Train Robbery, paradoxically, looks gorgeous but lacks bite and narrative rhythm. The thieves carry out their complex scheme in a series of repetitive, evenly paced sequences, most of which involve the hijacking of keys to a safe. When you've seen one key theft, you've seen them all. The robberies...
With the score 60-40, Hooft put home a rebound off a Don Fleming shot. After a basket by Perry, Hooft rejected a Crusader shot and streaked down the court to bank in a gorgeous alley-oop pass from Glenn Fine off the fast break...
...were shocked by his placement of outrageous behavior in a conventional setting. Loot followed in 1966, and What the Butler Saw posthumously in 1969. Success liberated Orton's talent, and in the months before he was killed, his prodigious mind was bursting with what Lahr calls "gorgeous, wicked fun." What Orton might have accomplished remains a tantalizing conjecture. What he did achieve is clear enough, however, and perhaps Lahrs biography will bring him the American recognition he deserves but has never had, a memorial to the comic genius that was and might have been...
...telling scene: one night he hoists a lad- der up the side of a sorority house and spies on the coeds through a window. In any other college movie, his efforts would not pay off, but here they do in spades. Belushi's wide eyes take in one gorgeous nude body after another as the girls engage in pillow fights and unmentionable other acts. Yet there is nothing sordid about his voyeurism; it seems almost pure. That is because the Lampoon people understand the darkest secret of an American college education: one of the noblest reasons...
Clouseau has the shrewdness of idiocy. He is driving his car. A gorgeous floozy jumps in at a stop light. She leers invitingly. He is dumbfounded. She leers some more. He begins to suspect that she has something not quite upright in mind. She smolders. He is within seconds of deciding that a lewd proposition is in the air. She opens her mouth and says, huskily, "It's green." Now he is flummoxed, filled with honest consternation- and intrigued. Can she mean . . . ? "The light," she explains sweetly...