Word: schlock
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Dates: during 1990-1999
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...audience. As he did in Gulliver's Travels, Halmi, who makes all the major casting decisions in his productions, has again married a middle-market star to some otherwise TV-unfriendly material. Armand Assante is our Odysseus here. (Conversely, Halmi has a penchant for pairing unnecessarily qualified talent to schlock product. In his 1983 TV movie Svengali, a young Jodie Foster played an aspiring pop star in love with her aging vocal coach, a part that found Peter O'Toole forced to say things like, "When I make love to a woman, I unwrap...
...comes Old Man Ferguson from just around the block--/ (I can't stand this crock of schlock!)/ The Town Police make sure you never see yourself a bum./ The Litter Agents sweep Offstage the smallest crumb./ The cleanliness can numb you; where'd they stash away the scum?/ We're not dumb; it's in the slum...
...garde hip-hop, creating a sound that is sharp and soulful. The band also tosses reggae and ska (a faster, jerkier reggae precursor) into the sonic mix, resulting in songs that are hard to categorize and harder still to resist. While much of today's pop wallows in recycled schlock rock from the '70s (Kiss) and rehashed alternative rock from last week (just turn on the radio), Sublime offers up a sound that is fresh and potent...
Just because NASTASSJA KINSKI has made an action movie (Terminal Velocity) and is starring in a film originally conceived by schlock-hack Joe Eszterhas, don't think she has lost her art-house intensity. One Night Stand, which also stars WESLEY SNIPES, may sound like the name of a Showgirls sequel, but according to Kinski, it ain't so. "The title is fooling us," Kinski says. "This is an important film. It has to do with a man and a woman. It has to do with what we all look for in our lives." Besides, Mike Figgis (Leaving Las Vegas...
Towards the beginning of Chekhov's The Seagull, the young idealist Konstantin stages a play he has written for a critical group of houseguests. The monologue consists largely of pretentious, melodramatic schlock; the audience reserves its praise for Nina, Konstantin's bright-eyed and innocent sweetheart, who does all the performing. The playwright-within-a-play's honest and interesting intentions of reinventing drama get lost amid his overwriting. Only the contemplative old local doctor, Dorn, discerns any promise in the play's pseudo-intellectual rhetoric: "There was something in it... It was so fresh, unaffected...