Word: ultra
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Dates: during 1990-1999
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...possible suspects after the Lebanese founder of the Republic National Bank suffocated in an arson fire at his penthouse. Safra had been barricaded in a bathroom along with his nurse, Viviane Torrent, while knife-wielding assailants, apparently frustrated at being unable to reach Safra, set fire to his domed, ultra-high security Monte Carlo retreat. Monaco's chief prosecutor, Daniel Serdet, reported that robbery was not a motive. Nothing had been stolen. "We are treating the attack as a murder," a police spokesman said. "We believe it was motivated by Mr. Safra's powerful position in the banking world." Last...
...Irene Roth, Bobby's fiancee (of five years, no less), Kate Earls '00 is perfectly cast--her elegance matches her ultra-glamorous wardrobe, which includes several full-length evening gowns, each more stylish and chic than the next. With her exaggerated snobbishness, Earls steals the show every time she appears, particularly in her thrilling rendition of "Naughty Baby" and her catfights with both Bobby's mother (Jenn Hyman ??) and Polly. Roth's ultimate love interest is found in Lank Hawkins (Jonathan Steinberger '01), a gun-toting, tough-talking, scene-stealing cowboy, who, along with Ben Kornell '02 as the ever...
Former Speaker of the U.S. House of Representatives Newt Gingrich (R-Ga.) paid an ultra low-profile visit to Harvard yesterday...
...usually don't bring to mind the most disturbing of images (unless you count Britney Spears). Singsong melodies, plaintive boy-girl vocals, an occasional drum solo and the whine of an organ can't do that much damage. That is, unless they're placed in the hands of two ultra-depressive misfits like the ex-husband and wife duo of Sam Coomes and Janet Weiss, a.k.a. Quasi. The pair opened the evening with a blast of optimism in the form of "Smile," in which Sam and Janet start off with sugary harmonies over a bouncing beat. Then the lyrics begin...
...With this film, Mann proves that he is at the top of his form as an actor's director. Mann's cameras work in intimate closeness with his actors. And the cast works well with Mann's studied technique, which forces them into ultra-realism under the camera's close scrutiny. But the astonishing character study that dominates the first half begins to unravel when the film, inexplicably, changes its focus from Wigand to Bergman. Just as Wigand is entering his darkest period, becoming psychologically unhinged, the film cuts away to Bergman and his struggles with the brass...