Word: lushly
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Dates: during 1990-1999
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...King Mongkut provides much to sigh and smile at. While the film's message may not be clear, what is obvious is the talent of Chow Yun-Fat and his ability to carry a film. He perfectly complements and is at home amongst the rich sets and lush landscapes. Despite that neither English or the Siamese he speaks in the film are well-known languages to him, his words are infused with a range of convincing emotions. Chow is the perfect man to help illustrate traditional Thai customs, sensibilities and statecraft. Without being overly dramatic, he pulls off the role...
...life, it is supposed to inspire, thrill, move. In short, it is Dances With Wolves grand, it is Saving Private Ryan intense, it is The English Patient complex. Director Norman Jewison's (Moonstruck, Agnes of God) latest offering, The Hurricane, aspires to be an Oscar movie. It is lush, it is serious and boy does it try to stuff itself full with Oscar-worthy themes...
...framed by Depalowski again, this time for killing three white people in a bar. He proceeds to spend the next 19 years in prison. So this reviewer sits back and waits for a movie about American racial politics to unfold. But wait, suddenly the movie turns into a lush exposition on the joys of boxing, and a long narrative with lovingly trained camera angles on Denzel Washington's bare body results. The movie, based on Rubin Carter's autobiography, The 16th Round, now seems to join in the trend of a new wave of boxing films, such as the upcoming...
...late 1990s, the magazine, renamed Fifteen Minutes (that's the written-out form of F.M.), experimented with the esoteric. We've prepared a historically faithful selection of stories from a ratty old issue we found in the office (Dec. 5, 1996): "Hicks at Harvard," "Cheap Booze: The Lush's Guide to Local Liquor Stores," "It's Not Halloween, Now Give Me Candy...
...tricks. But Yeremin never lets these tricks develop into a full-fledged side-show. And how could they? Yeremin's staging and visual landscaping of Chekov's play is so breath-taking that we cannot be distracted from it. In Yeremin's hands, Ivanov on stage becomes as lush as Dr. Zhivago on film. The degree of unity that Yeremin orchestrates on a sensory level is downright astonishing. Scott Bradley's sets are a work of art in themselves, something of a cross between installation art and Isamu Noguchi's minimalist sets for the New York City Ballet...