Word: tangent
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Dates: during 1970-1979
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...film meanders aimlessly. Half the time, Meatballs forgets to exploit the gags that it so laboriously sets up. No sooner do we learn, for instance, that Camp Northstar is in the throes of a power blackout or a parents' day than the film veers off on an unrelated tangent...
...leveled against him by his counsel, John Dean, whom he fired in the spring of 1973. The most serious was Dean's persuasive claim that Nixon had approved hush-money payments to the Watergate burglars in a White House meeting that March 21. "I went off on a tangent by concentrating all our attention and resources on trying to refute Dean. But it no longer made any difference that not all of Dean's testimony was accurate. It only mattered if any of his testimony was accurate. And Dean's account of the March 21 meeting...
...looks as though all of Paris has conspired to make his capers unchallenging. After a half-a-film full of perfunctory purloining, he hopes to gain fresh inspiration from a legendary thief, Cannonier, recently released from Devil's Island. But Cannonier has gone off on a revolutionary tangent, and for all his Marxian trouble gets shot in the back by a policeman. There seems to be no romance in crime anymore: soon Belmondo's partner quits and the priest, LaMargelle, starts making disillusioned noises...
...Tangent Watchers," the most recent of a series of intimate dances titled "Inscapes," Gray does succeed in reaching beyond her theme. A duet for two women, the pieces begin with Gray pounding her fist into her palm, Susan Dowling catching one wrist with the other hand. Dowling delicately arrests her gestures, Gray percussively snaps hers. Both work within their own style of moving and yet transcend their individuality too, dancing in unison through the second half of the piece. In contrast, Gray starts off another dance in the series, "Looking to See," with unison movement. In this piece a second...
...Fogg show includes his earliest comic-book panels from 1963, which first won him his notoriety. Lichtenstein went off on an entirely different tangent in his attempts to convey the wavy fluidity, "the absolute indeterminate essence" of the sun, sky and ocean. He uses a combination of schematic and symbolic lines, actual color photographs, and a shimmering plastic called Rowlux, that in any other context--the plastic body of a comb or a brush, a drug-store display, a hair-salon wall--would be called vulgar. But here it is uncanny in its hypnotic approximation of nature...