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...Wolfe and Goor as her children. As the weather-obsessed Susannah, Wolfe gives a gracefully subtle performance, avoiding edgy fanaticism to render her apocalyptic yearnings as lyric. Goor's Andrew, home from the Gulf War, is shellacked in gold, silent and frozen. When he launches vigorously into a tightly woven monologue about the bliss and religious rapture of bombing Baghdad, he is both uncompromisingly hysterical and profound...

Author: By Robert J. Levy, | Title: Where 'Crows' Fly | 3/9/1995 | See Source »

...based on a 1991 best-selling novel by Irit Linur and follows the zigzag entanglements of Talilah Katz, a thirtysomething advertising executive who fits easily into Tel Aviv's chic yuppie milieu and is representative of the modern, liberated young Israeli women contemptuous of the macho and militaristic values woven through their society. ``A fine movie, well produced and well acted,'' summed up l`Isha, a women's publication, and added, ``For a change, Tel Aviv doesn't look like it is part of a third-world country.'' Fox financed his $600,000 film from government grants and private investors...

Author: /time Magazine | Title: TIME International, Feb. 20, 1995 | 2/20/1995 | See Source »

...suspects that Boyd complicates the plot for the pleasure of disentangling it in lean, lively prose. He also offers fascinating insights into pre-modern medicine and the mad dreams of the earliest aviators-presented not as set pieces but woven into the narrative. In all, typical Boyd-satisfying and baffling at once...

Author: /time Magazine | Title: COMPLICATIONS | 2/6/1995 | See Source »

Thankfully, the rest of the play does not follow in the vein of its overly trite prelude. By alternating scenes in which the characters interact with each other or address the audience, Houston creates a finely woven story of some hapless Japanese women trapped in America...

Author: By Roland Tan, | Title: Triple 'A' Brews Strong Tea | 1/13/1995 | See Source »

...Delacroix, this antiquity involved color, as for Ingres -- his opposite -- it did not. David and Ingres had given France a colorless antiquity, an abstracted classicism of white marble. What Delacroix got from the arts of Morocco -- woven and dyed fabrics, leather, tiles and pots -- was a sense of extraordinarily vibrant and free color, "barbaric" in French eyes but wholly natural (or so he now realized...

Author: /time Magazine | Title: ART: Drinking the Color | 1/9/1995 | See Source »

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