Word: keaton
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...company remained reluctant to build them on American soil. Not until 1985, when Honda and Nissan were already producing cars in the U.S., did Toyota decide to build the Georgetown plant. The company has since been at pains to avoid such stereotypes as those spoofed in the 1986 Michael Keaton comedy, Gung Ho, which depicted Japanese managers holding fire drill-like pep rallies and speeding up assembly lines to a Chaplinesque frenzy. Toyota responded in methodical fashion: it bought copies of the film to show Japanese managers how not to behave in American factories...
...First Wives Club break records. Its $18.9 million opening weekend was the highest ever for a so-called women's film and captured more than one-third of the movie-going market from competition such as Bruce Willis' Last Man Standing. The characters played by Goldie Hawn, Diane Keaton and Bette Midler are like the Furies crossed with the Three Stooges--college friends spurned by their husbands in middle age who plan a madcap payback. But for all the one-liners and pratfalls, the movie is more than satiric fluff. Like Thelma & Louise, which five years ago set audiences...
...wife, an assistant from his law office, in their bedroom. "One way or another," says Fudin of her clients, "these women need to talk it out, write it out, scream it out." They must also take pains to keep the children from getting caught in the battling--something Diane Keaton neglects to do in the movie. The kids "will have their own rage to deal with," notes Fudin...
...best movies of a very long year. It's funny: "There are only three ages for women in Hollywood--Babe, District Attorney and Driving Miss Daisy," declares Goldie Hawn, who with her collagen-inflated lips is trying to stay in the first phase. It's touching: Diane Keaton is convincing as a woman devastated when her husband reveals he made love to her not because he wanted to reconcile but because he wanted a divorce. And it's satisfying: these women don't just get even; they get back their lives...
...Diane Keaton was stepping out of Annie Hall fame into a more risque role in Looking for Mr. Goodbar: "She [says] she is insecure about her looks...[But] a listener can endure only a certain amount of this nonsense without contracting an enormous crush on Keaton. She marches sturdily into her sentences, pinafore starched and party shoes shining, then imagines that she hears a growl, stops uncertainly, scolds herself for being silly, collects herself and moves forward, uttering exhortations, and finally collapses, out of breath, on the far side of a not especially fearsome thought. She does not seem dithery...