Word: soulfulness
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
...from under the monstrously oppressive God the Father." But the absence of that ultimate authority figure--and the corresponding decoupling of the notion of compassion from a terror of hell or guilt before an Almighty--was attractive. Likewise, although it contradicted the Christian notion of an individual soul, Buddhism's idea of universal interconnectedness--that, as Kerouac wrote, "there is no separation in any of it"--appealed to the Beats, as it would in a few years to the flower children...
When Cheryl Stallings, a 32-year-old associate producer for NBA Entertainment, went to see the movie Soul Food at the Sony Meadows 6 in Secaucus, N.J., last week, she ended up doing something she never does: she talked back to the screen. Now, creative commentary during a film is an established custom among some urban moviegoers--catch a showing of Gang Related (the late Tupac Shakur's last film) in a major city, and it's a fair bet the action will not go unremarked on--but Stallings would rather listen. However, during Soul Food, there was just something...
...Soul Food is also feeling like a hit. The weekend it opened, all eyes were on DreamWorks' $70 million first feature, The Peacemaker (George Clooney! Nuclear terrorism!). But when the box-office numbers were tallied, a little-heralded African-American family drama named Soul Food (Irma P. Hall! Sweet-potato pie!) had not only grabbed the No. 3 position with $11.2 million in ticket sales but had also scored the highest per-screen average of any film in wide release: $8,363. And by last Thursday, Soul Food had taken in $3 million more, bringing its gross to more than...
Within these limits, there's actually quite a lot of good acting to be seen here. Wyle (who had bit parts in movies before stepping onto the set of "ER") acquits himself well as the soul-searching Warren. There's a depth and intelligence in his gaze that translates across both the big and small screen. Moore, as Mia, is convincingly abrasive and acerbic, even though the source of her anger remains a mystery. Hope Davis' Margaret brings a refreshingly clear-eyed, unselfconscious good humor that helps brighten the glumness of her surroundings, while Scheider's craggy Lincoln-like profile...
...this point, the character of the movie changes noticeably. During one of Pitt's moments of apparent familial soul-searching, composer John Williams first unveils a full-bodied rendition of the theme he has been hinting at throughout the film. It is a brooding, melancholy, expressive and lilting string refrain, fully capable of supporting the sudden emotional charge which enters the movie...