Six can talk about Rembrandt endlessly, absorbingly and with great feeling.
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Like many a television soap opera, recent events have been absorbingly far-fetched.
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She started it with Daniel Lopatin, who as Oneohtrix Point Never produces absorbingly disorienting electronic tracks.
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As with past festivals, the L.A. Phil has masterminded an experience too absorbingly complex to be summarized in brief.
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Her sharp, steely stories underscore, often absorbingly, the collisions of race and class, and the emotional trade-offs of attainment.
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Stone, for instance, is acting his surname, but there's something soft and knowing in this guy that's always absorbingly present.
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Eventually Kilmer was considered dreadful enough to parody with a contest that values the ability to string thoughts together the way he did: enthrallingly, even absorbingly.
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But in both universes, revenge fantasies are common logs for the narrative fire, and even in the Realer Than Real universe, inhabited by characters whose speech patterns and pop cultural interests sound like they were transcribed from actual coffee shop conversations and whose emotional journeys play as absorbingly authentic, there come key, dire moments when reality seems to go out the window and suddenly an action movie/comic book aesthetic kicks in: a character we're rooting for is wronged, and it takes an unreal act to escape -- and enact revenge.
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The Sydney Morning Herald praised the book's narrative, saying that it "flows along absorbingly without a line of direct dialogue".
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On Rotten Tomatoes, the film has an approval rating of 79%, based on reviews from 39 critics, with an average rating of 7.32/10. The website's critical consensus reads, "The Day After may rank among the slighter works in writer-director Hong Sang-soo's filmography, yet it still presents an absorbingly earnest look at relationships in turmoil." On Metacritic, the film has an average score of 72 out of 100, based on fourteen critics, indicating "generally favorable reviews".
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A 1944 review from The Rotarian praised the novel, calling it "absorbingly dramatic" and citing its realism as a highlight. Johnson remarks that Smith refrained from portraying Nonnie in any of the then typical "racist stereotypes of black women as either mammies or Jezebels", making her "closer to images of the 'ideal' white woman: beautiful, kind, compassionate, and loving. For Smith, Nonnie simply happens to be black". Johnson further wrote that Nonnie was not written to be ashamed of her blackness, nor written to be an "honorary white woman".
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25 April 2014. Louise Maunsell Field writes that there is a noticeable change in writing style, but it comes at a point where the narrative demands expediency. There is "an increased depth of understanding, an increased subtlety of characterization, of thought, of style". Field also says, "the book is absorbingly interesting: dramatic, subtle, fascinating with allurement". Heliena Krenn says “It was the Malay Archipelago with its truths about human life dimmed by the mists of its jungles and waterways that started Conrad on his career as a novelist”.
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The Allmusic review by Steve Loewy stated "this CD fills an important gap in the work of Braxton by focusing on his non-quartet work of the mid-90s. Actually taken from a single concert of duo, trio, and quartet performances, the compositions are characteristically complex, though absorbingly and fascinatingly so. While the level of his classic quartet recordings is hard to beat, these small groups give a different view of the composer/performer – one laced with abstraction and densely layered harmonies". On All About Jazz Glenn Astarita noted "Throughout, the musicians spew forth-fascinating themes that often convey a sense of fragility or innocence yet with Braxton, we tend to gaze in wonderment at the end results".
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It also received good reviews, the Sunday Times saying "the 'chase scene' through the bush and across a lagoon is very realistic." The Register called it "a thrilling and absorbingly interesting story of Australian bush life, and several daring feats of horsemanship are displayed." The Sydney Morning Herald stated that "one of the most applauded of the scenes... was the burning of the stables and the rescue of the horses, Starlight's Last Stand also excited enthusiasm." The Argus said the film was: > A series of exciting incidents, situations, and escapades... sustained > interest throughout and tells the story in a straightforward businesslike > way, with a judicious mixture of comedy to relieve it from too great a > weight of sensationalism.
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Just two years later, at a performance of Trans in Metz in November 1973, there was no such audience hostility . Today, the outraged protests in the recording of the world premiere, predictably most vehement during the extremely long, intimidating silence toward the end (punctuated in the middle by a triple shuttle-loom stroke), open a window to the past, as if the listener now is experiencing the work in reality from "the other side" . Reviews have focussed on the theatrical elements, rather than on the music per se—understandably, since Trans is not intended as a concert piece, but rather is an experience that sets its own standards . One critic, writing of the 1973 Metz performance, pronounced it "very good theatre", a "beautifully and absorbingly done" transcription of dream to performance, possessing "the lunatic coherence that one recognizes in one’s own dreams" .
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