Word: scripting
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Dates: during 1980-1989
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...late addition in the acne rash of teen stories, The Sure Thing's script (by Steven L. Bloom and Jonathan Roberts) must qualify as pretty "intellectual and stuff." Alison might fret about maintaining her grade- point average, and Gib may actually fall for her because "she happens to be an excellent judge of quality shirtwear." Welcome to the decade of lowered expectations, which Rob Reiner's meandering direction fully satisfies. The Sure Thing aims not to blaze trails but to avoid the gross failings of its predecessors. All right, then. In teenpix a shrug is better than a shudder...
...Life, the Universe and Everything. The Hitchhiker's Trilogy, which began as a radio serial, has grown to embrace a television series, record albums, several theatrical productions and a computer software game. As a result of all that furious merchandising, Adams, 32, a 6-ft. 5-in., former television script editor (Dr. Who), has become a cult figure at colleges throughout the galaxy. So Long, and Thanks for All the Fish is billed, with impeccable logic, as the trilogy's fourth volume. It is the looniest...
...Edwards bragged that he could not lose to Treen unless he was "caught in bed with a dead girl or a live boy." A riveting stump speaker who sprinkles his oratory with Cajun French, Edwards reputedly can film a 28-second campaign commercial in a single take without a script, a rehearsal or a stopwatch. He has run 15 times for public office, including four terms in Congress, and has never lost. Sighed the vanquished Treen: "It's difficult for me to understand his popularity. But how do you explain how 900 people drank Kool-Aid with Jim Jones...
...Sanai's performance is also outstanding although it suffers somewhat for his failure to give any sense of Brandon's sinking confidence in light of Rupert's mounting suspicious. In all the case deserves congratulations for simultaneously providing quality entertainment and effectively conveying the theme of an extremely difficult script...
...playful quality of this scene, however, is atypical of the film. Most everything else, from cinematography to dialogue is heavy-handed. While the camera shows a full front view of all the action, the script is equally uninspired. Everything is straight exposition: the writers seem to have forgotten the value of innuendo. This lacks of subtlety engenders a lack of surprise and coarseness in the film. One emerges from the theater benumbed by the blatancy of the script and by the ordeal of having sat through what has seemed like a thousand hours of Solid Gold...