Word: sexless
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...seem to be all things to all the people he meets. Peter Sellers' meticulously controlled performance brings off this seemingly impossible task; as he proved in Lolita, he is a master at adapting the surreal characters of modern fiction to the naturalistic demands of movies. His Chance is sexless, affectless and guileless to a fault. His face shows no emotion except the beatific, innocent smile of a moron. His verbal repertoire consists only of mild pleasantries, polite chuckles and vague homilies about gardening. Sellers' gestures are so specific and consistent that Chance never becomes clownish or arch...
...humorless, literal-minded disasters. Horror movies thrive on satire, wit, ghoulish irreverence (or else elaborately-stylized reverence, as in the Hammar films, to the point where it's funny). Or else lots of erotic overtones. (Alien had some, but they're mitigated by the film's frigidity. Prophecy is sexless.) The British can usually make funnier and more stylish horror films, because they're so good about being shocked: "A vampire you say? My word..." Here are a few of the most precious moments in horror history: Ernest Thesiger plying Boris Karloff's Frankenstein monster with brandy and cigars; Carrie...
Through a crack in a shutter, he can look directly into the bedroom of his wife Antonia, a lovely, pale, sexless creature (Antonelli again) who suffers from hysterical paralysis. What does he see? Antonia bounds out of bed and, thinking that her husband is dead, bravely undertakes to continue his wine business. As she does this, she discovers both his idealism and his mistresses, neither of which she knew of before. She takes up sex and pamphleteering, and soon, under Luigi's flabbergasted eyes, is rolling about with an as sortment of lovers, male and female...
...World War II. For reasons that are not clear, Writer Jane-Howard Hammerstein short changes the love story to dwell on the her oine's father (Michael Constantine), a surly merchant with unexplained psychotic tendencies. McNichol and Davison just do not have much to do; their scenes are sexless tableaux vivants, designed to illustrate the story's ample collection of humanitarian platitudes. Lest we miss the point, the proverbially wise and rotund black maid (Esther Rolle of Good Times) lectures the characters on the virtues of brotherhood. Add Director Michael Tuchner's fussy attention to period detail...
...Mouse. In Six Terrorists, 1971, a file of them strut across the page, in aviator jackets and miniskirts, equipped with flick knife and carbine: young bourgeois clones of affectless violence, Black Shirt, S.L.A. or Brigata Rossa. It is an uncannily predictive drawing. "The Mickey Mouse face," Steinberg remarks, "is sexless, neither black nor white, without character or age: for me it represents the junk-food people, the spoilt young ones who have all their experiences, inferior as they are, handed to them on a plate." An encyclopedic disgust pervades these drawings. But it is not a common emotion in Steinberg...