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...expressed not merely in the amity of the crew -- who never fought amongst themselves except when one or another had been taken over by aliens, which seemed to happen about every third episode. Beyond that, the freewheeling way the starship broke the constraints of time and space was a testament to unlimited human possibilities. Hundreds of light- years could be traversed in minutes (just accelerate to "warp factor"); crew members could be transported from place to place in an instant ("Beam me up, Scotty"). Time travel was a particular Star Trek favorite; characters were often shuttling back and forth...

Author: /time Magazine | Title: Star Trek: Trekking Onward | 11/28/1994 | See Source »

...With long and short shots, we see the full-scale massacre of chaos as well as the upclose bitterness and mudspattered savagery of war. Branagh's final elegy is a tragic pacan to the misery of battle. Corpses strewn across the fields in a violent fashion are a gruesome testament to the brutal pain before us. Branagh plays up the ambiguity--he lets us recognize the real feelings and the victims of war, while at the same time Henry can revel in his new found glory. It is a moment in the film where the complex relation between dishonor...

Author: By Tristanne LILAH Walliser, | Title: HENRY | 11/10/1994 | See Source »

...right, maybe camels were smaller then and needles a lot more wide eyed. But the message is reiterated in passage after passage, and not only in the politically suspect New Testament, where socialists have always found solace. Ezekiel explains that the Sodomites' sin was that they had "pride, fullness of bread and abundance of idleness" but did not "strengthen the hand of the poor and needy" -- quite apart from any "abomination" (16: 49-50). Amos addresses the rich people of Bashan, who "oppress the poor, which crush the needy," thundering that "the days shall come upon you, that he will...

Author: /time Magazine | Title: Remember the Sermon on the Mount? | 10/31/1994 | See Source »

...Jubilee) have the feel of requiems. The title song chides the middle class for its double-entry morality: "We pencil in, we cancel out, we crave the corner suite,/ We kiss your ass, we make you hold, we doctor the receipt." John Doe No. 24 is the poignant testament of a blind, deaf boy found on an Illinois street in 1945. And he's not the only lonely one. In Chapin Country, we're all displaced persons...

Author: /time Magazine | Title: MUSIC: A Woman's Wit and Heart | 10/24/1994 | See Source »

Tarantino's movies are smartly intoxicating cocktails of rampage and meditation; they're in-your-face, with a mac-10 machine pistol and a quote from the Old Testament. They blend U.S. and European styles of filmmaking; they bring novelistic devices to the movie mall. And in Pulp Fiction, a multipart tribute to the hard-boiled books and films of American mid-century, he has devised a sprawling, sturdy canvas that accommodates the high-octane and the highbrow...

Author: /time Magazine | Title: A Blast to the Heart | 10/10/1994 | See Source »

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