Someone asked Meryl Streep whether her new movie, "The Devil Wears Prada," is a feminist film. A look of horror spread across her face. "Well, there's a way to kill the box office." Better to lure male moviegoers with a profusion of beautifully draped bodies of the sensuous female of the species. Nevertheless, her movie is very much a feminist film and a morality tale, too dramatizing what a woman (like a man) has to do to get to the top of a tough trade. In this case, the trade is the world of fashion. Meryl Streep makes it clear that she modeled her character after certain men she has known in the entertainment industry. (No names provided.) Miranda Priestly, her character, is the editor in chief of Runway magazine, which largely resembles Vogue as the arbiter of high-fashion taste. S...
A search of the ash-laden hulk of his car first revealed a book opened to a page headed, "What comes out of volcanoes? The answer to the query for former Columbian photographer Reid Blackburn and at least 23 other persons is that fatal fury comes from volcanoes, even from the most peaceful-appearing peaks.
The "Doctor," who made headlines few months ago for his near fatal accident on the Spanish Town by-pass is in tip top form and ready to unleash his fury in New York.
Four years ago, two men had a brief conversation about fathers and war. One man, Ira Greenberg, mentioned that his father served in the U.S. Navy during World War II, but conceded he wished he knew more.
... a heart attack the year before he suffered fatal heart failure. The sound and fury of heavy gunfire...
... memories written a few months before his fatal crash. As a result, Flying Fury is an absolute una...
[...] many critics read the characterization of the city as a reflection of the period's economic history: the increasing globalization of the national economy with respect to the Pacific Rim, especially LA, and the widespread "Yellow Peril" fear of a Japanese corporate invasion. In history books, he's the kind of cop who used to call black men 'niggers.' This exchange establishes Bryant and Deckard as stock figures of twentieth-century Civil Rights narratives: the Southern redneck cop and the cynical but nonracist white one. [...] by 1992, the film has excised all of its direct references to black people despite its reliance on traditional African American themes.
...Likewise, George Harris' "eyes burned" with fury when reproached by his master (21). On such occasi... prominent films starring Michael Douglas (Fatal Attraction [1987], Failing Down [1992], Disclosure...
... STARS, METAL SLUG, SAMURAI SHODOWN, and FATAL FURY on a wide variety of home gaming and handheld...
Exhibiting zero interest in explaining the internal logic of this cartoon world (or even, for that matter, explaining what the G in G-Girl stands for), Don Payne's screenplay instead piles on all sorts of off-puttingly raunchy sex jokes. It's a leering, smutty movie. How this thing got a PG-13 rating is beyond me, but I wound up sincerely embarrassed for all the parents in the theater who'd foolishly brought their young children to a flick that's being advertised as though it's Sky High 2.
... know how the old saying goes: Hell hath no fury like a misogynist caricature scorned. One-upping GGlenn Close's Fatal Attraction bunny-boiler, Thurman's nutcase roasts ...
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