Word: teri
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Dates: during 1970-1979
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...prevent the placid Burns from being upstaged; Reiner has chosen to cast him opposite John Denver, an innocuous, highly-forgettable country-western singer, and a company of lovable codgers from Barnard Hughes to Ralph Bellamy. Denver's wife, who must put up with his "visions," is played, badly, by Teri Garr, who went on to become the wife of a similarly-obsessed Richard Dreyfuss in Close Encounters of the Third Kind. She should have better taste in husbands, poor girl. Such an unthreatening, inoffensive cast must also have assured Reiner that although the idea of God presented as a stand...
Suddenly, the screen shows a beautiful, starlit night in peaceful Muncie, Indiana. A five-year-old boy (Teri Garr) and his single mother (Melinda Dillon) are drifting off to sleep to the sound of crickets. Then strange things start to happen: the child's electric toys begin to stir, household appliances go haywire, and objects start moving about in the air. The fearless boy is amused and seems to notice a mysterious presence in the room. The commotion ceases, and the child's sluggish mother awakens only in time to run after her little boy who has gone trampsing across...
...pure Hitchcock?on an intergalactic scale. The hero, Roy Neary (Dreyfuss), is a Middle American variant on the kind of man-in-the-middle played by Gary Grant and James Stewart in films like North by Northwest and Vertigo. A power-company worker who lives with his wife (Teri Garr) and three kids in Muncie, Ind., Roy is engulfed one night by phenomena he cannot understand: searing lights burn him from above, a road sign shakes and twists, the contents of his truck move about in violent defiance of gravity, the needles on his dashboard dials spin past...
Still, it is not Burns alone who makes the picture work. Singer John Denver is agreeable as his reluctant modern Moses, and Teri Garr is marvelous as a model of wifely forbearance, deftly blending skepticism about her husband's claims to contact with the higher-up and faith in his fundamental good sense. Carl Reiner's low-keyed direction avoids some obvious errors. Once Denver begins preaching the latest word from on high, the media get interested, and there is an opportunity to make the customary comments on the circus aspects of overnight celebrity. But Reiner makes...
...despised by human society, becomes a sex symbol. Peter Boyle, as the monster, has eyes that say everything. Madeline Kahn is so luscious in the role of the fiancee that she seems even sexier with two vertical white streaks in her hair as the Bride. The lab assistant, Teri Garr, is cute and makes the most of inevitably dumb lines...