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TIME: Almanac 1993
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TIME Almanac 1993.iso
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123190
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1231420.000
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1992-08-28
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CINEMA, Page 43BEST OF '90
Cinema Paradiso. A little boy in a small Italian town serves
as acolyte to the keeper of the flame -- the projectionist in
the local theater. With graceful sentiment, director Giuseppe
Tornatore evokes the magic by which our first films grasp at
memory.
Cyrano de Bergerac. Moonlit idealism and moonstruck love,
dashing swordplay and flashing wordplay, bold intelligence and
bustling spectacle . . . And the winner is -- by more than a
nose -- Gerard Depardieu.
Dick Tracy. Warren Beatty and a brilliant crew turn
comic-strip art into glamorous movie artifice. This is not only
a straightforward rendering of the story about the big-city dick
with a right-angle jaw; it is also a tribute to the lithe,
blithe entertainment that Hollywood once served up with style.
Edward Scissorhands. Spooky-cute Johnny Depp and Winona
Ryder -- they look like the figures on a Transylvanian wedding
cake -- make ideally mismatched lovers in Tim Burton's witty
fable, in which a sweet-souled alien comes to suburbia, makes
a few friends and scurries back home. E.T., meet E.S.
GoodFellas. Martin Scorsese's Mafia wiseguys rob decent
folks, kill crippled kids, snort and sell coke -- and have a
swell time together -- in this dark farce that blazes through
its 2 1/2 hours like a hit man on a contract high.
Henry: Portrait of a Serial Killer. Bleakly dispassionate,
wrenchingly violent, John McNaughton's study of anonymous
psychopathy is a scary and scarring experience.
Internal Affairs. The year's best urban action film -- cool,
smart and heartless -- is also a moral tale about the infinitely
corruptive power of sexual attraction. Richard Gere's
performance as a good cop gone rancid is a marvel of
slipperiness.
Misery. In this Stephen King thriller, James Caan is a
romance writer rescued from an accident and held captive while
he recuperates. Kathy Bates is his nurse and "biggest fan" --
alternately giddy and menacing in a great turn. Rob Reiner
proves himself a director of Hitchcockian wit and wiliness.
The Nasty Girl. Michael Verhoeven's exuberant, stylish
satire, based on recent fact, examines the lingering shadow
Nazism casts across Germany and the obsessive determination of
one teenager to expose it. As the anti-Nazi girl, Lena Stolze
is impish, imperious, utterly adorable.
Postcards from the Edge. Hollywood has so much fun hating
itself that the venom can taste like fine wine. Carrie Fisher
puts plenty of savory laughs into her, well, perhaps slightly
autobiographical script, and under Mike Nichols' direction,
Meryl Streep parades her dazzling comedic gifts; she adds spin
and sizzle to every bon mot.