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...considerate death: painless and not much damage to the door. In "I" IS FOR INNOCENT (Henry Holt; $18.95), her best-crafted alphabetical mystery yet, Sue Grafton sends p.i. Kinsey Millhone around the small city of Santa Teresa, Calif., as if her 1974 VW were the pencil in a follow-the-dots puzzle. Armed with matchless powers of observation ("I pictured . . . his nose pierced, a tiny ruby sitting on his nostril like a semiprecious booger") and a genius for the drudgery of detection, Kinsey follows a methodical trail to Isabelle's killer. Waiting in the dark, with her Heckler & Koch...

Author: /time Magazine | Title: Short Takes: May 4, 1992 | 5/4/1992 | See Source »

...makers of this monstrosity do deserve some credit. They get a "10" on innovative ways to kill, which include a pencil through the ear and a corncob (yes, a corncob) through the back in addition there are at least three scenes where people's arms are pulled or broken...

Author: By Brady S. Martin, | Title: A Not-So-Thrilling Thriller | 4/16/1992 | See Source »

Lest this young Einstein sound like a young Frankenstein, Williams adds that computer graphics can help make only better-looking movies, not better ones. "Essentially, this is another form of pencil," he says. "If it's in the hands of someone who can't draw, then it can't draw...

Author: /time Magazine | Title: They Put The ILM In Film | 4/13/1992 | See Source »

Whether one peruses Matisse, the master reductionist, who uses plain black brush strokes to sketch a woman's face in "Tete,"--or Dufy, who uses a charcoal pencil to delineate contours without filling in the flesh of bourgeois French men in "Personnage"--the figures create a dynamism that only modern art evinces. This visual movement strongly contrasts the static and frigid characters of nineteenth century French artists like Ingres and David, whose canvases present both form and content, with the former prevailing...

Author: By Aparajita Ramakrishnan, | Title: Exhibit of Modern Art Surveys the 20th Century's Aesthetic Innovators | 4/2/1992 | See Source »

Carson's nightly rituals and idiosyncrasies have become as comforting to millions of viewers as warm wool pajamas: McMahon's booming, endlessly imitated introduction ("Heeeeeere's Johnny"); the natty golf swing that signals the end of the opening monologue; Carson's nervous tics (fiddling with his tie, drumming a pencil on the desk), which have provided grist for impressionists from Rich Little to Dana Carvey. The program has had moments of great theater, from Tiny Tim's wedding to Miss Vicki to Michael Landon's poignant last appearance to discuss his terminal cancer. But mostly the show has succeeded because...

Author: /time Magazine | Title: And What a Reign It Was | 3/16/1992 | See Source »

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