Word: onscreen
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...Crusade; Lethal Weapon 2; Honey, I Shrunk the Kids; Ghostbusters II. They all aspire to the freedom of form and story that any animated film takes for granted. Problem is, real life gets in the way. Location shooting is at the whim of weather; special effects can look chintzy onscreen. And actors! They cost the moon, and their bodies aren't elastic enough to perform the comic contortions that Daffy Duck can give you with the wave of an animator's pen. So here's a tip for the '90s, Hollywood: junk the live-action movie. Just make cartoons...
...made a video as Chunky A, now airing on MTV. A movie career, meanwhile, has sprouted almost effortlessly. Last year Hall co-starred with his best pal Eddie Murphy in Coming to America, the No. 2 box-office hit of 1988. Next week he will be back onscreen with Murphy in Harlem Nights...
After meshing amiably with Murphy in Coming to America (in which he played multiple roles, ranging from a grizzled barber-shop customer to a fiery evangelist), Hall seems poised for a movie breakthrough. In Harlem Nights, which Murphy wrote and directed, Hall is onscreen for only a few minutes, as a gangster who "hates Eddie's guts." He is currently talking with producers Don Simpson and Jerry Bruckheimer (Beverly Hills Cop) about starring in an action-comedy, which would probably be shot next fall. "By then," Hall says, "either I'll have a grasp on what I'm doing...
...come back to Baton Rouge to find a love he lost nine years before? Of course they are not real people, and the difference is crucial in this talk-as-sex era. Real people talk back, act up, walk out. So let's leave the trend where it belongs: onscreen, in the season's smartest, funniest real- love films...
...view, and that is maddeningly difficult. All we know for certain is that Do the Right Thing is not naturalistic. Golden sunset hues swathe the street at 10 in the morning. The color scheme is chicly coordinated, as if Jerome Robbins' Sharks and Jets were about to dance onscreen; the picture could be called Bed-Stuy Story, full of Officer Krupkes and kindly store owners. At first, the dilemmas are predictably pastel too: populist cliches brought to life by an attractive cast. Even the racial epithets have a jaunty tinge, as in a series of antibrotherhood jokes made by blacks...