Word: machos
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...does media parodies too, and good ones. Nick Bakay has nailed the sensitive-macho posturing of NYPD Blue's David Caruso, and the show has lampooned everything from Forrest Gump to a dippy model turned TV host named Bagitta. But She TV's horizons are broader. That became clear its first week, in an inspired sketch called "What Do Women Want?" Ostensibly a parody of a game show, it turned into a sly satire of the gulf between the sexes; a lone male contestant is trapped in a world where the rules are fuzzy and he's the only...
...movie is a replay of Tarantino's Reservoir Dogs, a bloody study of macho alienation and Method posturing. Jean-Hugues Anglade, the French star of Betty Blue, La Femme Nikita and the forthcoming Queen Margot, bites off huge chunks of scenery as the nutty gang leader; his performance is a great geyser of bad acting...
Arnold is Harry Tasker, man with two lives, that of a super-secret, super-macho spy and that of a loving husband/father. Jamie Lee Curtis is his wife Helen, who's growing a bit bored by her "computer salesperson" husband. They've got a teenage daughter who occasionally steals, a house in the suburbs, the works. And no one but Harry--and his agency and partner Gib (Tom Arnold)--know the truth. Until, that is, cracks begin to appear in the marriage--and Helen suddenly gets dragged into Harry's other life...
...lesbian these days. While I cannot speak from personal experience about what it is like to be a lesbian in the '90s, the film confronts, draws out and discusses very openly such sterotypes of lesbians as butch or short-haired, combat-boot-wearing nose-ring-touting macho sluts...
Then BLAM!, the Wild Bunch hit town. On the festival's final Saturday, John Travolta, Bruce Willis, Samuel L. Jackson, Uma Thurman and other performers from the American thriller Pulp Fiction brought some big-time, macho-and- mayhem, Uzi-in-your-gut star quality to Cannes. Quentin Tarantino, who made the sanguinary Reservoir Dogs, wrote the script and directed the film at a hurtling pace, displaying a steely assurance in his storytelling and a gift for placing scary violence at unexpected moments. When the film was shown, it was as if Tarantino were telling Cannes, "O.K., nap time is over...