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Like the old-maidish son Ezra, whose nostalgia for family dinners inspires the idea to open The Homesick Restaurant, the Learys are sexless, neutral creatures whose homesick tendencies keep them permanently sheltered. Determined to save herself from a similarly myopic fate, Sarah bails out on a marriage run to entropy. The frustrated, impatient sister Penelope scornfully calls Macon "an armchair traveller," an Odysseus who can't even get up a sense of adventure...

Author: By Hein Kim, | Title: You Can't Go Home Again | 10/1/1985 | See Source »

...pride, the work ethic, a need to stand firm for what he figures is his--turns him into a monster with a red neck. The script would have been even stronger if Dinh had been allowed some convulsive ambiguities of his own. Instead, he must simply endure, selfless and sexless. Such is the yellow man's burden in films of the liberal persuasion...

Author: /time Magazine | Title: Cinema: An Immigrant Tragedy in Texas Alamo Bay | 4/8/1985 | See Source »

...soul and a Broadway tinhorn's compulsion for self-abasement in bad booze and worse sex. Josie, the daughter of his Connecticut tenant farmer, has adopted the manner of a slut in order to hide her Madonna's heart. Their tragedy is that their one night of (sexless) love comes too late. From it they achieve not redemption but a brief, bittersweet memory; not" I enough, one suspects, to light their separate darkening paths into the future...

Author: /time Magazine | Title: Theater: Anguished Aria | 5/14/1984 | See Source »

...level of the uninhibited acting is consistently excellent and the the show's tinning runs smoothly with live piano music as the transitions between the scenes. The costumes contribute to the quality in the level of acting with each actor wearing the same sexless outfit of lavender courderoy. Matching the clever costumes are the creative sets which use different props like toilet seats as chairs and chalkboards as windows using the chalk to draw the blinds...

Author: NO WRITER ATTRIBUTED | Title: Not For Squares | 7/1/1983 | See Source »

Paced at a Wolfman's shamble and photographed in colors as cheerful and sexless as the Blands, Eating Raoul could be read as Bartel's comic revenge on Hollywood: like his protagonist, he profits by axing the System. But perhaps this is too heavy a weight for 87 minutes of soufflé-light surrealism to support. The film is best seen as a canny survivor's notice of current determination and future availability. It would be pleasant to think that what Bartel did for love could be redeemed for money, and a chance next time to make...

Author: /time Magazine | Title: Cinema: Souffle Surrealism | 10/4/1982 | See Source »

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