Word: scripting
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Dates: during 1980-1989
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Confusion is heaped upon confusion as McMann vainly attempts to separate the deadly reality from the crazy fantasies of Palmer, but with no real success. Conti, with the theatrical-magic he brought to Reuben, Reuben and The Norman Chronicles, transforms the whiny, irresolute McMann he found in the script into a sexy and sympathetic British playboy. With a perfectly raised eyebrow and a fatalistic shrug, Conti is Man confronted with the inexplicable essence of uninhibited feminity. Conti is God's gift to romantic comedy, an Italo-British Cary Grant who consistently surpasses every superlative piled on his previous performances...
...direction and script also assume secondary importance when Conti is on the screen. Director Rick Rosenthal starts the film off slowly; the first quarter of the movie up to Palmer's arrival in Paris bears an embarrassing resemblance to three or four well-known television sitcoms. But Paris allows him to hit his stride, and move the movie along at a comfortably fast clip. The script by Jim Kouf and Jeff Greenwalt would not, by itself, bust any guts, but then again, with Conti on their side it does not have...
Reagan, mounting a stage in the lobby, down at the bottom of this festive well, may have been relieved to be working with a script again. In the soft and almost purring voice that he can direct with such intimacy at a crowd, the President gave a short talk, part inspiration ("Fly as high as you can!"), part politics as manly game ("Come November, we're gonna tell Coach Tax Hike [Walter Mondale] to head for the showers"). The Republicans hollered and whooped. It had been a long night. Ronald and Nancy Reagan made their...
...requires a heart of stone to keep a straight face at the passing of Little Sophie, and neither the script nor the acting aids in that endeavor. Nor does the picture's style. One would like to think that when a film embraces the conventions of 1950s imagery (blasted tree trunks standing starkly against a battlefield's orange sky, gauzily veiled glimpses of, yes, dens of iniquity) and symbolic set decoration (the wretched excesses of an aesthete's salon contrasted with the too tasteful austerity of an intellectual's garret), it intends an ironic comment...
...Shepherd, as Gil Ivy, a good husband and kind father who buckles under the threat of losing his farm, is much more believable, if less heroic, than his on-screen wife. While the script leaves Gil's character largely undeveloped. Shepherd does a marvelous job with what part he has, bringing a freshness and honesty to his lines that are sorely missing from the rest of the film...