Word: keaton
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
They recognize Film Producer Freddie Fields and his friends in the Polo Lounge, but Fields is a long way from Beverly Hills, on patrol in deepest North Carolina. With him are Australian Director Bruce Beresford (Breaker Morant, Tender Mercies) and several indisputable movie stars--notably Diane Keaton, Sissy Spacek and Jessica Lange--in addition to the assorted children, nannies, pets, significant others, caterers, crew members, drivers, accountants, studio biggies, flacks, journalists, rent-a-cops, cutpurses and dancing bears that accumulate when a film company hits the road. Fields, Beresford and the rest have come to North Carolina for the filming...
...plot resembles the house, an outrageous, turreted wonder. Lenny MaGrath (Keaton) is the oldest sister, unmarried, moody, leery of men because of a "shrunken ovary." Meg (Lange), the flamboyant middle sister, is a minor- league cabaret singer whose recent employment has been in a dog-food company. Babe, the youngest, has that little problem with the husband she shot wisely but not well. Meg tells cheerful lies to Old Grandaddy and worries later that when he finds out the truth, he will lapse into a coma. Babe and Lenny laugh so hard at this that they can hardly spit...
Been a long twilight for the good working-class people of Hadleyville, Pa. Detroit closed the car factory, and life is desperation on the dole. For bad times, big gambles: send slick-shaggy Hunt Stevenson (Michael Keaton) to Tokyo so he can persuade a thriving Japanese automaker to establish a plant in his hometown. Then, when the do-it-our-way executives of Assan Motors demand that their American employees work harder for less money, have Hunt convince his pals, speciously, that there is a pot of gold at the end of the assembly line. Poor, distraught workers, when they...
...sentiment. Frank Capra was a master at building social comedy to the apex of hysteria, then pulling a happy-ending miracle out of his hat. Ron Howard, even after Splash and Cocoon, ain't these guys, yet. When he lets his film relax into hip facetiousness, and when Keaton parades his elfin jock swagger, Gung Ho is agreeable. But its relentless stereotyping of the Japanese provokes winces and worse. Its tone swings violently from pratfall to preachment, from an indictment of featherbed laziness to an extended beer-commercial celebration of the mythical American worker. Perhaps the brand of canny moral...
...eagle-eyed student can detect flairs of John Hughes' best absurdist work, a soupcon of Risky Business's self-knowing psychological slant on civilization and its discontents, and a brief but illuminating pillaging of Woody Allen's treasure trove of neuroses (cf: post-tennis scene with Diane Keaton on her terrace in Annie Hall...