Word: loving
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Dates: during 2000-2009
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...indie action, Michael Moore launched Capitalism: A Love Story in just four theaters in New York City and Los Angeles and pulled in a plutocratic $240,000; Moore's cinematic stimulus plan rolls out in full next weekend. Bright Star, Jane Campion's moony tale of the doomed poet John Keats and his soul mate, Fanny Browne, expanded to 130 screens and earned a hearty $682,000 from lovers of sentimental art-house fare. And Coco Before Chanel, one of three biopics of the couturier to be released in theaters or on DVD this year - this one starring Amelie...
...million, second week 2. Surrogates, $15 million, first weekend 3. Fame, $10 million, first weekend 4. The Informant!, $6.9 million; $21 million, second week 5. Tyler Perry's I Can Do Bad All by Myself, $4.8 million; $44.5 million, third week 6. Pandorum, $4.4 million, first weekend 7. Love Happens, $4.3 million; $14.7 million, second week 8. Jennifer's Body, $3.5 million; $12.3 million, second week 9. 9, $2.8 million; $27.1 million, third week 10. Inglourious Basterds, $2.7 million; $114.5 million, sixth week...
...wordsmith at the Times. And a wordsmith he was: in addition to his columns, Safire also penned (a verb I suspect he would have hated) the On Language page in the New York Times Magazine, continuing to write it until shortly before he died. For those of us who love to know where a word or phrase comes from, how its meaning and usage has changed and what verbal construction is now permissible (and what is not), On Language was a consistent delight. (See pictures of Republican memorabilia...
...Unfortunately, the rest of the album falls predictably into two commercial mainstays: the ostentatiously scored, teen-baiting love ballad ("Iron Butterfly") and overtly energetic vocals underpinned with tacky electro beats ("Rock Your Body"). Both sorts are competently produced here, and disappointment sets in not at their presentation but at the potential wasted. Alisa has the talent to gun for critical approval. But she is being steered instead toward commercial safety...
...film needn't take a prize at Venice to grab the attention of the world press. Michael Moore, whose Fahrenheit 9/11 is the top-grossing documentary of all time, shifted his focus to the financial meltdown in Capitalism: A Love Story. Provocative and wildly ambitious, it expands beyond the housing and banking crises of the past year into an epic of malfeasance: capital crimes on a national scale. With enough corporate villains to stock a hundred melodramas, who is the hero? The writer-director-star himself. There he is, attempting to make a citizen's arrest of AIG executives...