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Word: scripting (lookup in dictionary) (lookup stats)
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...does. But you can guess who the (temporary) victim is this time, can't you? And maybe you can guess--this question is a little harder--why the bride keeps running away. She renounces her needs in order to fit her current man's ideal. The script by Josann McGibbon and Sara Parriott makes these jilted guys plausibly awful, so we agree with Maggie's decisions to dump them...

Author: /time Magazine | Title: Cinema: Altar Egos | 8/9/1999 | See Source »

...much attention was given to the special effects, which although nicely executed, were not enough to carry the script, characters, plot, or dialogue...

Author: By Lauren M. Hult, CONTRIBUTING WRITER | Title: Bad Movies Are Haunting Liam | 7/30/1999 | See Source »

...smell," philosophizes one actor in the ten-minute version of Romeo and Juliet at the play's inception. Allusions to contemporary pop culture not only demonstrate Shakespeare's relevance, but allow the audience to play along with the actors' jokes. However, as clever and as brutally funny as the script is, The Compleat Works is an actor's tour de force. Amblad, Burke and Green give virtuosity-level performances in this zany comedy. Amblad's rendition of Juliet's Italian nurse is worlds apart from his despondent teenager routine as Romeo. Likewise, Green's portrayal of an alternately insane...

Author: By Jamie L. Jones, CRIMSON STAFF WRITER | Title: Three Men And a Bard, Well-Cut | 7/30/1999 | See Source »

Lona Williams' script has more lutefisk and Lutheran gags than a year of A Prairie Home Companion. Williams and director Michael Patrick Jann are as eager to deride Middle America, with its oppressively cheerful whiteness, as they were to exploit the area's hospitality; the film was shot in half a dozen Minnesota towns. As Amber says, "The whole thing's kinda sad and lame at the same time...

Author: /time Magazine | Title: Cinema: A Pageant To Die For | 7/26/1999 | See Source »

...down"? Lindo is apologetic. He should have been more constructive, he says. Maybe so. But Locke, who loses at least a foot to Lindo in height, doesn't back down. "I see beyond the polarity," she says of race relations, speaking with the same hopeful tone that powers her script. At dinner one night, Redford sees in her eyes that Locke is trapped in the halfway house between self-confidence and self-doubt. He strolls up and tells her not to worry. "This is all part of the experience," he says. "You've got a good story...

Author: /time Magazine | Title: Sundance Summer | 7/19/1999 | See Source »

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