Word: thrillers
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Dates: during 1990-1999
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Reading crime novels in mixed company, now that some of the toughest and raunchiest fictional cops, detectives and villains are women, has become a delicate exercise in sexual politics. We can imagine Spenser, Robert B. Parker's tough-guy hero, paging through a thriller one evening, log fire burning and six-pack of Sam Adams at the ready, when his girlfriend Susan Silverman senses trouble. She speaks: "You're looking all choked up and strange, Slugger." He explains sheepishly that he is reading a detective story. "Yes ... ?" "Well, so there's this wounded guy, and suddenly the detective whips...
...Hollywood line is that this has been a summer of adult movies. But Forrest Gump, Wolf and Clear and Present Danger are not primarily for adults -- that is, for grownups in search of films a bit more demanding than those in the standard coming-of-age, horror and thriller genres. Somebody has to wonder: Can there be other kinds of pictures? And if they exist, can they connect with a sufficient number of appreciative viewers...
...weren't nearly as much fun. Evans was busted for possession of cocaine, and a vicious murder was tied to the production of his ambitious box-office flop The Cotton Club. After contemplating suicide and escaping from a mental hospital, and while producing last year's insipid sex thriller Sliver, Evans did what any well-traveled mogul looking for a comeback would do: he wrote his memoirs...
...give up his practice. But almost any enthusiastic amateur might have spurred Crisis in the Hot Zone into production faster and with happier results than the Hollywood royalty -- Robert Redford, Jodie Foster, director Ridley Scott and producer Lynda Obst -- to whom 20th Century Fox entrusted this $50 million thriller. Nearly two years after Preston's article appeared -- time enough for him to expand it into a book, The Hot Zone, due in stores in a few weeks -- the film had not begun shooting. Last week, in fact, it looked kaput. Or, as a chagrined insider euphemized, "It's sleeping...
Back at Hot Zone, Redford, Foster and Scott were all hoping to make a good picture. But they could never agree on what that picture was. Scott wanted a thriller, a true-life version of Alien, his 1979 sci-fi horror epic, that was strong on hardware and icky special effects, with maybe an ecological message. Redford, who signed on for $8 million and who had script approval, wanted an ecological message movie about a heroic virologist from the Centers for Disease Control -- his role. Foster ($6 million and script approval) wanted an ecological thriller about a heroic Army pathologist...