Word: plot
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Dates: during 1990-1990
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Alksnis is a leader of Soyuz, as is a fellow colonel named Nikolai Petrushenko; Shevardnadze contemptuously described the pair last week as "boys . . . with colonels' shoulder stripes" (both are in their 40s; Shevardnadze is 62). They have talked wildly of such things as an alleged CIA plot to unite national-front movements from the Black to the Baltic Seas into a single anti-Soviet confederation. Soyuz claimed credit for Gorbachev's sacking of the country's liberal Interior Minister last month, and brazenly announced that the Foreign Minister was next on its hit list...
...Fair in Love and Show Biz Andrew Lloyd Webber brought Aspects of Love to Broadway in more ways than one. Critics found the hit musical's score overwrought and the plot unlikely. In real life, the composer highlighted one of love's least admirable aspects when he announced a separation from wife Sarah Brightman and helpfully included the name of his mistress in the press release...
...about, an aging entrepreneur haunted by specters from films nearly two decades old. Because this is a movie about loss, Pacino must relinquish the steely calm of his youthful Michael; now he is Lear without the grandeur. Nor can G3 find suave new twists and characters to propel the plot and lure the teens. Garcia, an electric actor, swaggers so handsomely that he makes one wish for another sequel. But he is helpless to strike sparks with Sofia Coppola (the director's daughter), whose gosling gracelessness comes close to wrecking the movie...
...some colorful conniving: who'd have guessed that an international cartel fatally poisoned Pope John Paul I? But G3 never persuades one of the urgency of its maxim that "finance is a gun, and politics is knowing when to pull the trigger." With all its boardroom bickering, the plot is a gun that shoots mostly blanks. G3 is too faithful to the deliberate pacing of the first two films: the slow walking into a dark room, the silence surrounding the threats. For two hours the movie labors up the winding path of its story, wheezing like...
...omission is both fatal and curious, for in some respects the film conscientiously compressed its source. Its plot has been faithfully rendered by screenwriter Michael Cristofer, and director Brian De Palma has succeeded in the more difficult task of finding a cinematic equivalent for the novelist's singular style. Using unconventional angles, lenses and light, he accomplishes on the screen what Wolfe achieved on the page through deliciously exaggerated dialogue and deadpan parody. De Palma lifts us out of banal realism but stops short of forcing surrealism's affectations upon...