Word: hipness
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Dates: during 1980-1989
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...Bacall-Robinson-plus-Claire Trevor and Lionel Barrymore powerhouse directed and co-written by action-meister Huston. This was no 1940s period piece, taut and tawdry and black and white all over. No way. Instead, Blue City is the latest in what modern-day Hollywood sees as the cool, hip, where-it's-at youth picture, more empty-headed boredom passed off as the happeningest style...
...showed foreigners the residential damage wrought by U.S. bombs. But they showed no inclination to allow inspections of military targets. The U.S. displayed aerial photographs of the damage at the Benina air base near Benghazi showing the wreckage of at least four MiG-23 Flogger jets, two Mi-8 Hip lightweight helicopters and two F27 propeller-driven aircraft. The Pentagon estimates that at the Tripoli military airport the U.S. took out five Il-76 transports and caused major damage to several buildings. Defense officials admit that damage to the Sidi Bilal facility was less than they had expected, and withheld...
...irony by a prison-yard crew. Their chant is slow and syncopated, with beats of silence between syllables to underscore the sarcasm; their steps are punctuated by the swish and rattle of chains. The costumes display Fosse trademarks: white gloves, hats, spangled tuxedos. So do the dances, with their hip and shoulder rolls, backward exits and slithering one-hand gestures down the torso. The first-act climax, a mob convulsion set to Beat Me, Daddy, Eight to the Bar, recaps the form-in- formlessness trick that Fosse calls "the amoeba." His sultry sexual trio for Me and My Shadow derives...
Maybe Alan Rudolph should just plunk himself down in front of a video console, electronically colorize some old film noir favorite of his and forget it. Instead, the writer-director keeps trying to revitalize that shadowy, romantic style of the '40s by putting a hip spin on it. This strategy worked pretty well for him two years ago in Choose Me, shot in a surreal light and featuring a script that had the giddy loquacity of a liars' convention...
...piece knits 10 different numbers together--alternately using the whole company, a couple, and an ensemble of male dancers. Although the sharp turns, leaps and skillful hip and rib isolations of the dancers made a powerful visual impression, in particular the vignettes in which male members of the company moved in unison were most successful. Here Ailey created an atmosphere ringed with the electricity and power of their movements. The effect was a mesmerizing tour de force of the men's energy, strength and technical precision...