Word: holocaust
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Dolphin) Robert Merle's premise should yield such an entertaining and cheerful novel. Anyone who has read Herman Kahn, with his printouts of megadeaths, or the other prophets who have envisioned post-Bomb races of savage mutants hotfooting it across the radioactive countryside, might have concluded that nuclear holocaust is not much...
...gram, guns, the wine cellar and Comte's collection of shirts, which sounds as opulent as Jay Gatsby's. Malevil's tribe establishes a sort of feudal agrarian Communism. The band soon discovers that a scattering of other people near by have also survived the holocaust, among them some young women, who conveniently become Malevil's communal wives and future breeding stock. A band of loot ers begins devouring Malevil's newly sprouting wheat, the key to its survival, and so massacre is reinvented. There are no bleeding hearts after the Bomb - Comte is nature...
...depends for its shock upon severed connections. Heavy mechanical cutting dissociates you from the picture. Its edges don't connect, but hang jagged. The lesioned picture leaves you with the sense of a world awry, a broken world whose sense has splintered. It's fun for casualties of a holocaust, or hellfire, anxious all the time...
...changed Woody Allen that the doctors unwrap and usher into the yea 2173 at the beginning of Sleeper. Allen has really written this picture--it's painstakingly mapped out--and most of the jokes, for better or worse, are inherent in the science fiction scenario of a post-holocaust future two hundred years from now. The same is true of the hero's new persona, which flows out of the scripted material like soup from a can, Allen sealed--maybe too tightly--in the perfect container...
Vigorous Egos. On occasion, the camera lets the speaker enlighten the audience at his own expense: Alfred Hitchcock's comparison of a murder in Torn Curtain with the holocaust of Auschwitz betrays a pompous misreading of history. Howard Hawks' decrying of self-consciousness is contradicted by the rigidities of Red River. For the most part, however, the directors are shown as canny and incorrodable professionals, sustained by vigorous memories and egos. Schickel makes no attempt to hide their flaws: Frank Capra often lurches from sentimentality to unabashed bathos; William Wellman, Raoul Walsh and Howard Hawks appear to have...