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...special effects and character development of Apollo 13, the mix of animals and robot beasts in Babe, the bloody briskness of the battle sequences in Braveheart, the claustrophobic submarine struggle in Crimson Tide and the jolting impact of Seven. Character study, animal film, martial epic, macho debating, upscale splatter--all genres sizzle or sink depending on the editor's skill...

Author: /time Magazine | Title: CINEMA: THE KINDEST CUTS | 3/25/1996 | See Source »

...taking his depressed and institutionalized sister for an outing. They kid around about death and heaven, then veer into cheerfulness: "I'm thinking that I'm gonna be all right, and in the meantime what can be better than a cool, breezy, fragrant day, rain-splatter diamonds on the wraparound windshield of a Ninety-eight Olds with a view of cherry trees blooming in the light spring rain?" For a few minutes, they both believe...

Author: /time Magazine | Title: BOOKS: PRIMAL MATTER | 6/19/1995 | See Source »

...mixture of nitric acid and ethanol creates fumes which are a corrosive irritant. Nitric acid, a strong caustic acid, tends to bubble and splatter whencombined with certain other chemicals...

Author: By Andrew L. Wright, | Title: Chemical Accident In Med. Lab Injures Two | 5/15/1995 | See Source »

Director Peter Jackson, whose three earlier features (Bad Taste, Meet the Feebles and Dead Alive) make clever use of puppetry and guignol splatter effects, here is like a physician who assumes a patient's fever in order to understand her illness. He visualizes the landscape of Pauline's and Juliet's minds as a fetid garden, where fairytale plots of courtly love and castle intrigue blot out their edgy lives at home and school. The girls' vision of Borovnia utterly mesmerizes them. Anyone who would break the spell -- like Pauline's sweet, anxious mum -- must be a witch. Must...

Author: /time Magazine | Title: CINEMA: A Heavenly Trip Toward Hell | 11/21/1994 | See Source »

...show is sculpture: mechanized objects that pump liquids around, or reduce lumps of carbon to black dust with tiny pecking hammers, or swivel suspended binoculars in an anxious parody of disembodied inspection, or flap small wings. Some devices, slender granddaughters of Jean Tinguely's painting machines of the '50s, splatter paint around on the walls or (with more fetishistic suggestion) on women's shoes. No doubt to spare the clothes of the museum audience, these stay switched off, leaving dried Abstract Expressionist trickles as mementos. Peacock Machine, 1982, was originally seen spreading its tail in a formal- garden gazebo...

Author: /time Magazine | Title: Art: Mechanics Illustrated | 9/13/1993 | See Source »

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