Word: witnesses
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...Desmond, have you ever been intimate when the two of you knew you weren't in love?" "I've been intimate when the three of us knew we weren't in love.") The show strives to be a wacky send-up of soap operas, but it lacks the deadpan wit of Mary Hartman, Mary Hartman or the bomb-throwing audacity of Soap...
...Extra-Terrestrial (1982). All of Steven Spielberg's gifts -- his narrative gusto and suburban wit, his technical finesse and an emotional directness that buoys the heart -- blend sublimely in this fable of intergalactic friendship. One of the greats...
...promised more of the lame same. An affluent high school senior has an affair with a hooker (Rebecca de Mornay), dunks the family Porsche in Lake Michigan, turns his house into a brothel and still gets into Princeton. Sounds like the Reagan era in miniature. But there was wit in Paul Brickman's script and swank in his camera style. For Cruise, there was more. As soon as he tore into an air-guitar rendition of Bob Seger's Old Time Rock 'n' Roll, in his Oxford-cloth shirt, B.V.D.s and socks, pop magnetism burst out of its suburban shell...
Both a departure and a summing up, Keep the Change is described by McGuane as a "happy superimposition of results on intentions." Loyal readers will find themselves on familiar terrain -- the bone-dry wit, terse dialogue, lyrical descriptions of nature and hovering suggestion of violence are pure McGuane. But the measured tone and relatively upbeat ending of the book are a far cry from the pyrotechnical flash of his earlier works like The Bushwacked Piano or Ninety-Two in the Shade. Not all McGuane fans have stayed for the ride. "There are readers who abandoned me over the feeling that...
...these cliches without sneering at the genre. In telling the Hollywood side of the story, however, he is at times as snide as in his just closed satire of Iran-contra, Mastergate. But when he becomes cranky about the writer's woeful lot, the show is redeemed by the wit and humanity of David Zippel's lyrics and the zip of Cy Coleman's score, which delights in the past without sinking to pastiche except, maybe, in the close- harmony numbers of a group resembling the Modernaires...