Word: grownups
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Costner is something else: a grownup hero with brains. He's modern and classic. He thinks fast and shoots straight. He has city reflexes that help him beat the big boys at hardball. Yet he stokes memories of the lone man on a horse, silhouetted against the craggy horizon and setting sun of Old West values. He has the requisite danger for big-screen stardom -- the stubbornness in pursuit of ideals, the slow anger when pushed, the threat in a face that can mask its intentions -- even as his actions inspire trust. He could be a husband, a lover...
...wall. Sometimes she reminisces -- about being treated as dumb in high school, about the embarrassing things her son did as a schoolboy, about early married days when love was young and romance was in the air. Mostly, though, she complains. About her stodgy husband's indifference, her grownup daughter's condescension, her neighbor's one-upmanship, and the cumulative tedium of a life in the kitchen of her tastefully conventional house in Liverpool...
...student in the early 1960s, she pulled in as much as $35,000 a year from her modeling, enough to support herself and her husband, publisher Andrew Stewart, whom she married in her sophomore year. It was his family that acquainted her with the high life. "My introduction to grownup entertaining came at a dinner party Andy's sister gave to celebrate our engagement," Stewart writes in Entertaining. "I remember white damask cloths, silver candlesticks and a tiny crystal bell that tinkled after each course and whenever I dropped my napkin." After graduation, Stewart tackled Wall Street...
...Wade shows this in his smart screenplay, which is full of the atmospheric pressures that allow stars to collide. Director Mike Nichols knows this in his bones. He encourages Weaver to play (brilliantly) an airy shrew. He gives Ford a boyish buoyancy and Griffith the chance to be a grownup mesmerizer. When Tess and Jack kiss, Nichols has Griffith kick one leg back in the old-fashioned signal of innocent lust...
...modern urban gang. That is not, however, an apt analogy. The film is basically a drag, and not helped by Christopher Cain's stand-around direction. And one's thirst for the clear, cool taste of traditional narrative -- motivated movement, defined antagonists, building suspense -- soon reaches maddening levels. A grownup could die in this wasteland...