Word: steven
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Dates: during 1990-1999
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...Harper, Toni Kukoc, Keith Booth and Randy Brown, are facing a surreal adjustment to playing for a team unlikely to make the playoffs. The Bulls have suddenly become the NBA equivalent of the Florida Marlins: world champions who the following season have a second-rate crew that finish last. Steven Julius, the Bulls psychologist, says the four remaining Bulls will cope with their new status by continuing to think of themselves as defending champions. "Ron Harper can step up under adversity and even other pain," he says. "Toni Kukoc is a tough guy. He grew up in war-torn Croatia...
...that war again. At the end of a film year dominated by Steven Spielberg's Saving Private Ryan (Europe, 1944: D-day and after) comes Terrence Malick's The Thin Red Line (the Pacific, 1942: Guadalcanal). The two films, each with a rightful claim to magnificence, are as different as the terrain of their settings and the strengths of their makers. The New York Film Critics' Circle probably got it right last week by naming Private Ryan best film and Malick best director...
...succeeds in seeming terribly modern. Considered by many critics to be the author's finest work, Our Mutual Friend takes a look at the perversions of capitalism in mid-19th century London through two parallel love stories. Suspenseful, subtly rendered and well acted (with an especially compelling performance by Steven Mackintosh as John Harmon, a wealthy young man trying to conceal his identity), this Masterpiece Theatre production should put bad memories of 1998's Great Expectations to rest...
...Steven Spielberg, neighbor: "First he's a wonderful daddy. In between raising his kids, he does pictures. We're friends because his interpretation of family life is so retro. It's car pools, barbecues, play weekends, talk about the PTA, take videos of the kids. The other thing is that he completely, unerringly loves his wife...
...SAVING PRIVATE RYAN The director of Schindler's List surely knows that World War II was morally necessary. So it is a measure of Steven Spielberg's maturity that by opening Saving Private Ryan with what may be the most unforgettably brutal sequence in the history of war movies--his astonishing re-creation of the Omaha Beach landing--he forces us to wonder if any cause can justify such carnage. It is a measure of his growth as a questioning humanist that the rest of his tense, brilliantly wrought epic puts men in mortal peril as they attempt to rescue...