Word: witness
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Dates: during 1980-1989
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...official proponents to pleading feebly that the supply-side program needs to be given a chance. But in a timely and trenchant new book. Greed Is Not Enough: Reaganomics. CCNY economist Robert Lekachman slows that the Presidents program has already done harm enough to the American economy. With devastating wit and pungency. Lekachman provides a handbook of common sense and technical arguments to bolster the faith of anyone who has sensed all along that Reagan is crazy...
DEATHTRAP BEGS to be compared to Anthony Shaffer's Sleuth, another closed-room, twist-filled thriller, and unquestionably loses out in the comparison. But with intricate plot twists (which unfortunately tend to fizzle toward the end), and some snappy dialogue, it makes a fair attempt at matching the wit and elegance of Shaffer's play. Tendorp, the psychic, adds a nice comic touch by dropping by to see Sidney at all the wrong times, and prophesying ominously about a dangerous playwright named "Smith-Collona." Cannon is suitably daffy as the gushing Myra, and Reeve is, well, a hunk. Caine...
...HARD to believe that the South of William Faulkner. Gone With the Wind and the Ku Klux Klan could produce Rita Mac Brown. In her latest novel. Southern Discomfort--which is filled with her signature wit and warmth--Brown follows several of Motgomery. Alabama's more interesting citizens as they wander through a sexual and social labyrinth as only a candid, radical feminist...
...place in this gaudy but insecure film, which is all flesh and flash, never truly passionate or frightening. These sequences, in this context, become tributes not so much to a nostalgically recalled genre piece, but to the movies' long since vanished powers of suggestion. In those days, wit was employed to scare the wits out of people, and it was possible to speak about the unspeakable without turning it into an absurdity through show-and-tell realism...
...longer write a successful mystery play, but Sidney Bruhl (Michael Caine) can still stage one. In his own living room. For real. With his wife's inheritance at stake. His plot has wit and intricacy going for it-so much so that it cannot be described, lest the fun be spoiled for those who have not yet seen Ira Levin's original Broadway hit. Director Sidney Lumet has, perhaps, permitted the volume to be turned up too high, with the result that Caine and the other principals, Christopher Reeve and Dyan Cannon, sometimes seem screechy when they reach...