Word: redfords
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Dates: during 1990-1999
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Later in the week, someone at NBC would get the bright idea of splicing highlights of Gibson's final at-bat with film clips from the end of The Natural, when Robert Redford homered into the light standard to win the pennant...
...film, directed by veteran TV producer Linda Yellen, grew out of improvisations at Robert Redford's Sundance Institute, so a wary male critic is at least prepared for the film's politically correct earnestness. One of the group, Natalie (JoBeth Williams), is a movie critic who raises money to make a film about homeless women. Another, Maggie (Talia Shire), is a nun who faces a spiritual crisis after she helps a woman get an abortion. There are lesbian revelations, a discussion of the Anita Hill hearings and rampant man bashing. Rheza (Lindsay Crouse) has been dumped by her husband...
...Robert Redford...
...good. Cruise, like Robert Redford two decades ago, is a Hollywood hunk who has played it smart by playing smart guys: young men with cute brain waves who can make intelligence and idealism sexy. He and the pricey cast (Ed Harris, Holly Hunter, Wilford Brimley) make the machinery purr. The writers have corrected the book's dangling threat -- how to confront and cleverly resolve Mitch's brief disloyalty to Abby -- and its stodgy ending. The movie's moral is that however corrupt the Mob is, these lawyers are worse. Better for Mitch to cut a deal with a don than...
...often though, Sydney Pollack, whose swank and care energized the Redford thriller Three Days of the Condor in 1975, surrenders to genre goofiness, setting up bad guys who are omnipotent at the start and impotent at the end. Like a complex lawsuit, the movie gets buried in paperwork; there's too much walking and talking. (See Tom think. See Tom brood. See Tom make photocopies. See Tom amble across his living room -- in slow motion.) And at the end, too much running and gunning. Maybe every thriller demands a chase, but a clever thriller deserves a better one. On that...