Word: rehash
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...behalf of 20 million gay women and men in America, many of whom- until now- have been TIME readers, I take strong objection to your review of the film Heat [Oct. 16], which was described by Jay Cocks as "a faggot rehash of Sunset Boulevard." Your use of such abusive terms as "faggot" cannot be tolerated...
...Project report as a bloated Washington gossip column. Opening with a page of come-ons--"READ ALL ABOUT IT! What the 'Games Congressmen Play' are--from 'politics of deference' to congressional love and marriage to the secret hideaway offices of the Capitol rulers"--the report exudes sensationalism. The authors rehash the escapades of John Dowdy. Adam Clayton and that "malign genius" Thomas Dodd: they compare companies sending funds through campaign committees to "crooks lugging baskets of dirty money to be washed through legitimate business." Frequently witty--"The ideal staff must be like the ideal hairpiece; effective but unobtrusive"--and often...
Heat, a faggot rehash of Sunset Boulevard, is about an aging, braying B-picture movie star (Sylvia Miles) who takes up with a narcissistic stud (Joe Dallesandro). The film was made by the Andy Warhol epigone Paul Morrissey, who, like his master, exploits the sorry selection of freaks who have been recruited for the cast. Thus the audience is invited to have a good laugh at the gargoyle visage of Miles, chortle over Dallesandro's near-autistic blankness, and revel in the antics of an obese motel owner, and a schizophrenic lesbian. The lazy profanity and the grungy, grim...
Shame. One of Bergman's glories, a chilling indictment of a passive intellectual's approach to life and death...in wartime. With Hour of the Wolf, a cinematically flashy, intellectually tired rehash of some isn't-an-artist's-life-hell? themes. BRATTLE THEATER. Shame: 6:20, 9:30. Wolf...
...mystery thriller, clues may be misinterpreted, but they ought not to be deliberately misleading. When the scattered links are put together, they should form a logical chain. Lucille Fletcher (Sorry, Wrong Number) fails to keep that compact with the audience. Most of Night Watch seems like a rehash of Gaslight, with a neurasthenic wife being driven totally batty by her calculating husband and his mistress (Elaine Kerr). An unprepared-for ending quite reverses this premise. As the lady with frayed nerve ends, Joan Hackett is convincingly twitchy, but she overworks the part to camouflage how underwritten the play...