Word: onscreen
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...million raked in by video distributors, a fresh temptation is at hand. Laser videodiscs, compact discs with pictures, have such a clear picture and such a rush of sound that they make even the best-quality videotapes look shoddy. In many cases they are as good as what is onscreen at the local multiplex. Sometimes they are better...
...British overstatement, to be sure, but Rather does seem oddly prone to bizarre scrapes both onscreen and off. In November 1980, while still a correspondent for CBS's 60 Minutes, Rather hopped into a Chicago taxicab and headed for an interview with Studs Terkel. When the driver couldn't find Terkel's house, an argument ensued, and, according to Rather, the cabby held him hostage while speeding recklessly through the city streets. Rather filed a disorderly conduct charge but subsequently dropped...
...Shakespeare Jr. the Fifth (Theater Director Peter Sellars). Well, yes -- and the play he wants to make for her is King Lear. The film, though, could be called The Comedy of Eras. With his usual dour brio, Godard mixes allusions from five centuries of drama, painting, film. He presides onscreen too, speaking like a deranged Hitchcock, his hair a Rastafarian tangle of phone cords, stereo jacks and dog tags. The whole sport makes for Godard's most infuriating, entertaining pastiche in two decades. It's nice to know he is still making trouble, trashing the cozy citadel of narrative film...
Huston has precisely duplicated onscreen both the simple two-part structure of Joyce's story and much of its dialogue. The old Hollywood adventurer's mood and motives do not compromise Joyce's vision; they tactfully illuminate it. Indeed, Huston's handling of this material is so direct, artless and unassertive that one's first enthusiasm for it is tempered by doubt. Perhaps our desire that his last movie represent the best of his several selves is coloring our reaction. Mistrust, however, must yield to Huston's trust of his medium, his material and himself...
Robin Williams is a movie misfit. As the decade's reigning comic soloist, master of the improvised trip through his own weird inner space, he generally arrives onscreen bearing the burden of our heightened hopes for a divine madness. Up to now, his genius has not fit any known film format. Narrative obligations and the implicit demand that leading characters be sane, likable and consistent have always constrained...