Word: raffishly
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...break no. 2: the 1984 Splash, in which Hanks falls for a mermaid. The modestly budgeted film grossed $62 million in North America, and Hanks was suddenly the new surefire romantic-comedy guy. In three years he did seven films, mostly raffish comedies. It took Penny Marshall's Big (Break No. 3) to change that. Now he was so hot he was cast in roles that didn't suit him, like Sherman McCoy in The Bonfire of the Vanities or the thinks-he's-going-to-die hero of Joe versus the Volcano...
...SHAKESPEARE IN LOVE Forbidden romance, raffish show-biz comedy, literary pranksterism and class warfare jostle joyously in this intricately imagined, exuberantly acted, cunningly directed tale of how the young, infinitely distracted Bard gets in touch with the genius he doesn't know he possesses. To Gwyneth Paltrow, muse of Miramax, we send our heart...
...crafting the first major multinational corporation, Standard Oil, Rockefeller (1839-1937) provided a sneak preview of the 20th century. At his zenith, he refined, distributed and marketed nearly 90% of America's oil. The unlikely offspring of a raffish snake-oil salesman and a strict Baptist mother, Rockefeller grew up in several rustic hamlets in upstate New York and Ohio. He began his career as an assistant bookkeeper in a Cleveland, Ohio, commodity-brokerage house in 1855 and invested in his first refinery during the Civil...
Henry Fool--what a guy! He materializes, like the answer to a dark prayer, in a Queens neighborhood where a sanitation worker named Simon Grim (the glumly funny James Urbaniak) is literally lying in the street waiting for...something. Henry (Thomas Jay Ryan, pinwheeling raffish charisma) has everything, and too much of it. He swaggers, smokes, guzzles beer, grabs life by the butt and gives it a fat smack. He makes abrupt love to Simon's morbid mother (Maria Porter) and bored sister (Parker Posey). He is, he tells Simon, an artist, the author of a huge, unpublished tome called...
...acid. Working up imitations of it has become one of modern Hollywood's minor vices. But--a point usually missed--the style was never an end in itself. At its best it conveyed an idea about how the rottenness of big cities touches everyone, high and low, respectable and raffish. Director Curtis Hanson, working off James Ellroy's bitterly brewed novel about corrupt 1950s cops, gets that wonderfully right in a smart, complex film that exuberantly mixes comic excess, melodramatic pressure, romantic rue and an almost casual murderousness...