Word: slicking
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...succession of one-night lovers. Tuesday Weld provides an unmemorable contrast to Keaton as Dunn's capricious older sister Katherine, relying too heavily on the character's caricaturish whackiness to carry her through the part. Richard Brooks' direction and adaptation of Judith Rossner's best-selling novel is sufficiently slick to draw crowds to the box office, but the film can be filed as another victim to the typical superficiality of American movies. Sharp witticisms and flashy techniques keep the movie's pace upbeat, while Brooks neglects Dunn's broader significance as prototypical single woman vainly coping with today...
Through its recording and Universal film subsidiaries, MCA Inc. has produced some of television's more violent programs (Baretta, Kojak), some very slick and successful flicks (The Sting and, above all, Jaws) and a stack of million-selling gold records, by Elton John and Olivia Newton-John among others. But entertainment alone has not satiated MCA's voracious appetite for acquisition. It also has pushed into computer services, retail gift stores, publishing (Putnam) and finance (Colorado's Columbia Savings and Loan). Last week MCA decided that all these things would go better with Coke. It offered...
...crisp quips to furnish some badly needed levity to the story, and Brooks is not averse to using quick cutting from scene to scene to keep the action moving. One-liners like "Confession is good for the soul but it's bad for sex" are supposed to pass for slick dialogue, and they do succeed in eliciting the nervous chuckles, but the script seems to have been written with no higher purpose in mind than to keep the audience reasonably titillated. By devoting his energies to giving the film as glossy a sheen as possible, Brooks never explores the broader...
Harvard's slick passing game and superior conditioning were perfectly suited to conditions at the B-School field, which is considerably larger and drier than the Crimson's usual home across the street...
...fairness, it must be hard to contend with roles like these: most of the male characters are pallid Tennessee Williams retreads, and the women are mere camp stereotypes. The movie's two quasi narrators - a tough dance teacher with a 14-carat heart (Helen Gallagher) and a slick M.C. (Don DeNatale) - are shamelessly derived from such sources as Cabaret, Sweet Chanty and They Shoot Horses, Don't They...