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...shopping his 1972 novel First Blood around Hollywood, the political climate was quite different. Viet Nam movies of the late '70s, like Coming Home and Apocalypse Now, portrayed the war as a largely ignoble enterprise. "The subject matter was a risk," says Morrell. Such heavy Hollywood names as Martin Ritt, Sydney Pollack, Steve McQueen and John / Frankenheimer were involved in various efforts to film the novel. It finally wound up in the hands of two little-known producers, Andrew Vajna and Mario Kassar, who hired Stallone and raised the money to make the film...

Author: /time Magazine | Title: An Outbreak of Rambomania | 6/24/1985 | See Source »

CROSS CREEK Directed by Martin Ritt Screenplay by Dalene Young

Author: /time Magazine | Title: Cinema: Nodding Off | 9/26/1983 | See Source »

...Palais did afford increased seating for citizens of Cannes, who contribute a third of the festival's $1.3 million annual budget and reap many more millions of tourist dollars. The gentry could be generous to films from abroad, including Martin Ritt's U.S. entry Cross Creek, a dewy-eyed swamp drama starring Mary Steenburgen as Novelist Marjorie Rawlings, and Carlos Saura's dance film, Carmen. But for the four French films in competition-Jean Becker's One Deadly Summer, Patrice Chereau's The Wounded Man, Jean-Jacques Beineix's The Moon in the Gutter...

Author: /time Magazine | Title: Show Business: In a Bunker on the Cote d'Azur | 5/30/1983 | See Source »

...told Jackie Gleason's Minnesota Fats, "I'm the best you've ever seen, Fats, I'm the best there is," is all speed and charm and thin-ice cockiness. Hud Bannon, the surly cowboy womanizer who is the turbulence at the center of Martin Ritt's 1963 film Hud, seems twice the size of Fast Eddie. He is a brawler with the looks of a fallen angel, and he sneers at emotion: "My mother loved me but she died." Hud is rotten. He is trying to have his father declared incompetent...

Author: /time Magazine | Title: Paul Newman: Verdict on a Superstar | 12/6/1982 | See Source »

Whether or not performance is enough to overcome a script that is uninventively repetitive about these characters and the situations they encounter along the way is problematic. Ritt's direction is plodding when it is not obvious. It lacks the romantic lift that this film needs. Luckily, Field has the spunk and sass to redeem Back Roads just as she did Ritt's Norma Rae two years ago. He should never leave home without...

Author: /time Magazine | Title: Cinema: Detour | 4/6/1981 | See Source »

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