Word: plot
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Dates: during 1990-1999
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...means there is hope. And in doing so, he has defined masculinity despite publicly admitting that his favorite performers are Toni Braxton and Anita Baker; this guy could say his favorite movie was Beaches, and he'd still be the alpha male. He has unwittingly followed the plot of a hero, suffering like Ulysses: His father, to whom he was extremely close, was murdered in a carjacking in 1993. He left the game shortly thereafter, on a journey in a minor-league bus, getting $16 in food money a day and sleeping in less than four-star hotels. With...
...impede her investigation. The result is nothing less than formulaic. Scenes in which Professor Chase is threatened by a particularly unsavory character are followed by chance meetings with her friends, who nevertheless implicitly encourage her inquisitive (if somewhat self-destructive) tendencies. If you can't tell where the plot is headed after the first few chapters, you're probably reading a little too carefully...
...Never. 5. The Third Man (1949). Orson Welles gets best entrance -- but you knew that. What puts this film over the top is the final, parting shot of Joseph Cotten on the road. Sooo good, you retch a little. 6. Foreign Correspondent (1940). Vintage controlled Hitchcock: clean lines, great plot and arresting images like the oft-copied black umbrella scene. 7. Laura (1944). Queen of the noirs. Don't get me started on Gene Tierney. 8. Cool Hand Luke (1967). It is impossible to see this movie too many times. And if you are the right kind of person...
This is a declaration of love: The Opposite of Sex is the smartest, edgiest, most human and handsomely acted romantic comedy in elephant years. It's got enough plot, in 100 spiky minutes, for an entire season of Melrose Place (if that show were totally weird and funny). It has two births, two deaths, five sexual affairs and no special effects. Writer-director Don Roos' film also has a gnarled wisdom about modern romance, straight and gay, that makes it a road-movie Chasing Amy, a Heathers for the whole postnuclear family...
...There is no popular need right now for multimedia. That's obvious," sighs Michael Joyce, the father of hypertext fiction--nonlinear storytelling in which plot lines unfold in different ways upon subsequent readings. Joyce, an associate professor of English at Vassar College, wrote the "classic" hypertext novel, afternoon, a story. The piece is told one screenful of text at a time; by clicking on adjectives and verbs, readers veer off in far-flung narrative directions. While this may sound like the same experience as following hypertext links around the World Wide Web, afternoon was written in 1987 and distributed...