It's neither titillating nor debaucherous, but simply charmless and depressing.
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America now had a noisy, charmless mingling of steel and concrete.
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None of the other appetizers were as charmless as the white asparagus.
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Instead, her campaign exposed her as the stolid, charmless, unconvincing politician she is.
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Even they, sociopathic losers and charmless geeks alike, strive to do the decent thing.
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After being shut out early, the charmless La La Land began to pick up steam.
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Most live in charmless low-rise apartment blocks that arch across Rio's north and west.
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Something about this has always filled me with tenderness toward even the most charmless bakers.
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The 3-mile-long Theodore Industrial Canal is not quite as charmless as its name suggests.
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The circus-tent populism of Chávez gave way to an even less accountable, charmless tropical Leninism.
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But, whatever you do, don't star in a massive and charmless green-screen franchise in the making.
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All the while, the charmless but empathetic Geralt of Rivia finds himself in the center of things.
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Given this charmless flip-flopping, it's hard to see the rank-and-file across the country falling for him.
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I appreciate the zigs and zags of Jimmy's journey, which has him toggling between charming hustler and charmless hustler.
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Some had fatal flaws, like charmless renovations or locations near parking lots soon to be sold as building lots.
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The old guard—epitomised by the Cannes jury—have cast themselves as a creative David to Netflix's charmless corporate Goliath.
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On Tennis Our city's nod to tennis as big business came in a noisy, charmless mingling of steel and concrete.
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To be frank, I have come to find him so charmless that I nearly cringe any time he appears onscreen.
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With its soaring 13th-century cathedral, and charmless rebuilt central drag, Amiens is arresting both for its splendour and its banality.
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There was just the ghost of this post, an attempt to tack some sports onto a charmless but persistent trending topic.
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The tiny, charmless office, with "DNC Tech" scribbled in dry-erase marker on the door, contains one desk and two computer monitors.
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Tyrion has somehow become charmless and incompetent, while the show's finale teased that he's in love with Daenerys, a baffling narrative decision.
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CHINESE business leaders will gather on June 26th in Tianjin, a charmless industrial city near Beijing, for the annual "Summer Davos" conference.
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Team Fortress 2 showed you could make an authentic multiplayer shooter while leaving behind the charmless aesthetic excesses of the "Attitude Era" 90s.
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The NBI's Death Investigation Division was housed in a charmless room with tiled floors and the insipid fluorescent lighting that marks bureaucracies worldwide.
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And the overworld screens are ugly, even by 8-but standards, the monsters that rush you while exploring rendered as charmless black blobs.
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He is a skillful and popular politician, one of the few in modern Russia, where nearly all officials tend to be charmless functionaries.
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If charming communicators like Ronald Reagan and Bill Clinton struggled to find support in Congress, what could we expect of a charmless President Trump?
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Regarded as charmless cash grabs, the three projects hold a 31% on Rotten Tomatoes — combined — and continue to incite verbal disgust among cinephiles today.
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Inexplicably pining for this charmless doofus, Eloise alternates between stalking him and trying to make him jealous, endeavors equally bereft of laughs and dignity.
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Suicide Squad is a dull, inept mess — a charmless and incoherent muddle of a film that left me rooting only for it to end.
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Baywatch is a lot like that dead man's penis: It's a limp, charmless thing that doesn't warrant the effort or time spent looking at it.
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At best, the new building might represent a fresh start for the European Union, along with its architecturally charmless neighborhood, known as the European Quarter.
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A few kilometres farther on he points out the resettlement: rows of squat, charmless concrete structures plonked down along the side of the road, near nothing.
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Think back to the charmless trudge of Transformers: Revenge of the Fallen and G.I. Joe, the wasted potential of X-Men Origins: Wolverine and Terminator: Salvation.
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He lived with his mother and sisters, a neighbor told Reuters, in a charmless social housing block outside Carcassonne's famed walled city, a UNESCO heritage site.
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For her latest project, which goes on view today at San Francisco's Asian Art Museum, Shin worked her magic on a particularly charmless scourge: electronic waste.
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The golf establishment tends to remember Roberts as a sour figure, a charmless tyrant, and a canny sycophant—the bad cop to the faultless Bobby Jones.
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New evidence for the case that computer animation is homogenizing children's movies, robbing them of visual interest, this harmless, charmless movie plods along well-trodden turf.
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All the while, Alicia Vikander tracks the action from a computer in the most wooden, charmless performance a reigning Best Supporting Actress Oscar winner will ever give.
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Great creative works aren't made by "magic," they're made by hardworking, serious, and often charmless people who are able to understand and answer society's desires with art.
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It's a charmless, gray space with cement floors and metal roof — but for ChristmasCon, it's been bedecked with as much Christmas charm as the organizers could muster.
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It's a bland, charmless concrete monstrosity, the last of the unfortunate wave of multipurpose stadiums built in the 249s; the A's share it with the N.F.L.'s Raiders.
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The Hunt Tired of pouring money into rent, they traded the charmless modernity of a Brooklyn high-rise for the allure of a prewar co-op in Queens.
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Unlike vibrant Chinatowns the world over, Dakar's Chinese enclave is a charmless, rough-and-tumble affair that offers little appeal to those not in the market for wholesale goods.
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I despise the charmless Amazon wish list, it's true, but my reluctance to create — on command — a catalog of child-appropriate gifts is more than just resistance to materialism.
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You live in a mediaocracy, so it makes perfect sense that the more telegenic candidate would get more attention and consideration from voters than some charmless pud like Al Gore.
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And perhaps many of the club's supporters have started to believe the critics who have won nothing in their lives, yet write Pellegrini off as a loser and a charmless man.
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" But as Jonah somehow managed to ascend the political ranks onscreen, Simons said, "the person, speaking of charmless and graceless and just universally disliked, I based a lot of it on Ted Cruz.
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Ms. Miller, a writer in her 70s best known for the Obie-winning solo play "My Left Breast," hopes to demonstrate that when women turn 60 they don't suddenly become sexless, charmless, invisible.
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Not unless you count the fact that Dawn still wears clunky spectacles, and that she hooks up afresh with a charmless loser from the previous film, who offers her a ride to Ohio.
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Take away the growing-up aspect, and sub in a charmless NYC set for the magic of Hogwarts, and fans are left with just another superhero tale that Hollywood is cranking out year round.
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A performance venue should be warm and inviting, but this building's interiors are cold and charmless with a modernist aesthetic that badly synthesizes the austere confines of MoMA with the oversized grandeur of the Whitney.
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Suddenly, it becomes clear that the people who made this largely charmless venture with its hard-smiling nanny might have created something memorable, even good and hummable if they had turned it over to Miranda.
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Live, the vulnerable yet indomitable persona Ms. Dessay likes to present — that of a victim giving testimony — rounds into a complete, often riveting performance a voice that, when recorded, can come off chilly and charmless.
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Bizarre twists have very little payoff, and lines meant to be wry and sexy come off charmless and cloying, particularly when every main character is a fashion plate attempting to be all California cool and nonchalant.
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The problem, and the thing that is most mystifying about seeing people so bereft at the departure of this charmless man, is that Hinkie's implementation of that plan was so thoroughly hapless when it wasn't merely hamfisted.
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Swedish director Niels Arden Opley (The Girl With the Dragon Tattoo) and new screenwriter Ben Ripley (Source Code) serve up a fast-moving but seriously underwhelming and charmless display of young-and-dangerous tropes and paranormal consequences.
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Jason Kapalka opened his review with an anecdote about a Star Wars-obsessed friend who had recently dropped a couple hundred dollars on an unopened and charmless Star Wars action figure from the Empire Strikes Back era.
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But Wemba soon became associated with a more compelling and subversive fashion movement, the Religion Kitembo, or "worship of clothes", which was in part a sardonic comment on the charmless weeds and general decay that Zairianisation had brought.
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But while disappearing grocery stores have provoked public outcry and even street demonstrations, the loss of one charmless gas station — even if it is the last one for miles — seems to induce little clamor beyond the cabdriver community.
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Mr Blankenship is a doughy, charmless ex-convict who praised China's "dictatorial capitalism" and spent a year in prison for conspiring to evade federal mine-safety standards after an accident killed 29 men at one of his company's mines.
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Robinsons go she is shy but ironic, seemingly insouciant but grimly trapped in a sterile marriage to Gordon Macleod, a nondescript British Empire type who is given all the most charmless attributes of both his generation and his race.
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And though Justice League accidentally confirms that Prince is a prime character again (she gets a breathtaking, joy-inducing solo scene), it's still very much focused on Affleck's gruff, unfeeling Batman and his tenuous relationship with Cavill's charmless Superman.
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This is the monkish side of Downes, the one that patiently ponders a charmless panoramic view of a patch of Texas desert or the equally unattractive, claustrophobic view of a narrow, outdoor passageway between the backs of two tenement buildings.
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It is Britain's misfortune that at this moment, when cooperation and statesmanship are needed to prevent political and economic disaster, both the prime minister and the leader of the opposition are known for being cautious, obstinate, unimaginative, tribal and charmless.
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It's an obvious but understated point — the lack of charisma and expression that the protagonist's father possesses in English is not because he is a humorless and charmless man, but that the nuances of such expression are not, at that moment, available to him.
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The easiest way is to fly from Los Angeles to Christchurch, New Zealand—a journey of 17 hours, if you're lucky—and then to McMurdo, a charmless cluster of buildings that houses most of the southern continent's thousand or so seasonal residents and both of its ATMs.
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You cringe at the beep of the shed's door code being punched in, the signal that Ma's captor is about to enter, and you cringe, too, if more gently, when Jack demands that she read him the charmless picture book "Dylan the Digger" for the umpteenth time.
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Thus, I'll go with Alice Through the Looking Glass, a movie-type substance so totally devoid of charm and joy that you can essentially see actors looking furtively off screen, seeing if there's a clause in their contract that allows them to escape this charmless sequel halfway through.
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Claire finally locates him building a house in the wilderness (seriously, no male character in any blockbuster has ever been as predictable as charmless Owen) and convinces him to come, accompanied by a vet who specializes in prehistoric creatures (Daniella Pineda) and a scaredy-cat tech-whiz kid (Justice Smith).
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The secretive, gnomic, oatmeal-complected Hinkie, author of an 11-page resignation letter that reads like lorem ipsum filler text comprised entirely of management patois, seems like an odd fit for the role of redeemer/martyr, and strictly in terms of his own charmless and charisma-free pragmatism he absolutely is.
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A charmless barn of a theater (previously home to a series of flops, including the $238 million musical "Spider-Man: Turn Off the Dark"), it was reconfigured to feel more like an old-fashioned opera house, with a vaulted ceiling, a necklace of boxes, and 2164.83,2286.50 seats (down from 2300,240).
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After four hours and change of guiding Joule through patience-testing platforming sections above instant-fail falls, across identical desert dunes, and over unremarkable structures covered in low-detail designs, fighting and falling to charmless robo-enemies, and scavenging upgrade-facilitating crap, suddenly running into someone "you" can have a conversation with feels like a high.
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Twenty-two teams have changed ballparks in the last 30 seasons, creating more revenue and a better fan experience than the A's enjoy in the creaky, charmless facility they share — for now — with the Raiders of the N.F.L. The A's have spent more than a decade trying to escape — prisoners at Alcatraz had better luck — but this time, they believe they will finally succeed.
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At this moment when you recognize for the first time that you are wasting a literal fortune just to lug an oversized man-shaped bag through a long-ago-destroyed, overpriced tourist wasteland, as your pulse races and you realize that this misshapen, pointless, charmless mountain of wincing leather will soon propose marriage to you, of all things, that's when you know in your heart that all lives peter out early and become miserable descents into old age and disappointment.
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He appeared as the titular character in the video for Blur's 1996 single, "Charmless Man".YouTube – the charmless man-blur In 2010 he starred in Kim Nguyen's film City of Shadows (La Cité).Odile Tremblay, "Kim Nguyen - Au Sahara quand la cité vacille". Le Devoir, April 3, 2010.
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Formerly known as “The Charmless Man and his Strange Creatures” the original group was led by singer-songwriter Jon Tamayo and Tobit Rubio.
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The album spawned four hit singles for the band with "Country House", "The Universal", "Stereotypes" and "Charmless Man". "Stereotypes" made its debut at a secret gig at the Dublin Castle in London and was considered as the album's lead single, but "Country House" got a bigger reaction from fans. "Country House" gave the band their first number-one single, beating Oasis to the top spot. "The Universal" and "Charmless Man" both reached the top 5, whilst "Stereotypes" peaked at number 7.
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John Boland of the Irish Independent referred to the Dankers of series two's opening episode as a "charmless couple" he was willing to "hurriedly bypass" in his argument that the BBC had entertained him more than RTÉ.
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The Freedom Association describes itself as "a non- partisan, centre-right, libertarian pressure group". In their study of the use of litigation by pressure groups, Carol Harlow and Richard Rawlings call TFA "an avowedly conservative group". Marina Hyde, writing in The Guardian, has called the organisation a "charmless libertarian pressure group".
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Nikki picks up a charmless patent attorney in a bar and accompanies him back to his room where she slips something in his drink. The man passes out, Nikki lets Al into the room and they begin casing it for valuables. Then things start to go wrong. Al discovers their mark is not merely unconscious but dead.
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Upon release, Billboard commented: "Palmer's reliably strong soul stylings added to headbanger guitar riffs and sweet background harmonies proves to be a quirky, but potent, combination."Billboard magazine - Single Reviews - November 10, 1990 - page 91 In a retrospective review of Don't Explain, Paul Sinclair of Super Deluxe Edition listed the song as one of the album's "charmless excursions into heavy-ish rock".
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Their debut single, "What A Night" was previewed along with new songs such as "Maybe Baby", "Talking Monkeys" and "Honest". Covers were also on the mixtape including their version of "Charmless Man" and "I Wanna Be The Only One". On 19 February 2013, they released the video for their debut single "What a Night". The song was released on 21 April 2013.
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The film received negative reviews. Rotten Tomatoes gives the film a 6% rating based on 34 reviews, with an average rating of 3.25/10. The site's critics consensus reads: "Stranding Pierce Brosnan as a charmless cad, this tone-deaf romantic comedy is Some Kind Of something, but it definitely isn't beautiful." Metacritic gives the film a weighted average score of 11% based on reviews from 9 critics, indicating "overwhelming dislike".
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Rotten Tomatoes retroactively collected 49 reviews to give the film an approval rating of 22%. The site's consensus states: "Mired in campy visual effects and charmless characters, Congo is a suspenseless adventure that betrays little curiosity about the scientific concepts it purports to care about." Metacritic rated it 22/100 based on 19 reviews, meaning "generally unfavorable reviews". Roger Ebert of Chicago Sun-Times rated it 3 out of 4 stars.
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While singling out the site's alleged sexism (with listicles such as "21 Signs She's Expired" – #15 of which was "3 fingers fit"), it also criticizes the site's "sweatshop" labor model of publishing content primarily by contributors whose only compensation is exposure. In a 2015 Gawker story, writer Max Read credits Elite Daily for shifting "away from aggressively dumb misogyny" but notes that the site remains "imbecilic", "dull", and "utterly charmless and completely unredeemable".
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But when Molina returns to Interpol she is greeted by LeBlanc and LeBrun, two charmless agents from Interpol's Internal Affairs division in Brussels, who are looking into the backgrounds of the candidates seeking promotion. They question Molina about her investigations and her methods. They also mention that they are looking into rumors that some of the money seized in raids had gone missing. Molina goes to the pool hall owned by Cash's mentor, François.
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The website's critical consensus reads, "With stereotypical characters and a shopworn plot, My Life in Ruins is a charmless romantic comedy." On Metacritic, the film has a weighted average score of 34 out of 100, based on 25 critics, indicating "generally unfavorable reviews". Roger Ebert was unequivocal, in his review of June 3, 2009 : > Rarely has a film centered on a character so superficial and unconvincing, > [and] played with such unrelenting sameness.
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Edward's father, John Fitzgerald, had rented it in 1801 from the Jenneys on his marriage to Edward's mother. It was described as somewhat gaunt and charmless, but in a good park with gardens and ponds and fine stables and kennels. Bredfield House was severely damaged by a V-1 flying bomb during World War II and has since been completely demolished. In 1984 the park was described as desolate and overgrown, with conifers indicating where the house once stood.
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AMG gave the film a 2.5-star rating. On Rotten Tomatoes, the film received a 3.8-star average rating, with 77% of the audience reviews claiming that they liked the film. The Frog Prince received a negative review from the parental advice website Common Sense Media, in which member Renee Schonfeld describes the movie as "harmless, but charmless" and ranks it a 2 out of 5 for Quality because of production, acting, storyline, and other complaints.
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This is a vaguely amusing idea which somehow got stretched out to an entire book, which somehow became a best seller, which inevitably means it had to be made into a film." Keith Uhlich of The Hollywood Reporter gave the film a negative review, calling the film "Lumbering, lifeless and—strange thing to say about a cadaver—almost entirely charmless." Lindsey Bahr of the Associated Press also gave a negative review, saying "This story might have been better suited to a television adaptation.
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Verso's managing director Jacob Stevens stated that he expected the new offer on the Verso website to contribute £200,000 to the publisher's revenue in its first year helping to "shake up how publishers relate to their readership, and help to support independent publishing". In 2019, Verso Books launched its fiction imprint. The fiction editor, Cian McCourt, said, "We want to publish bold, intelligent writing that’s politically astute, but not dogmatic or charmless." By 2020, Verso Books had published over 1,800 titles.
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In the 1978 edition of The Beatles: An Illustrated Record, Roy Carr and Tony Tyler dismissed the song as "meticulously-played emptiness, a charmless reworking of the traditional peal o' bells" before concluding: "A pox on it."Carr & Tyler, p. 113. Writing in his 1977 book The Beatles Forever, Nicholas Schaffner rued that "the exquisite, painstaking arrangements" of Harrison's earlier albums were absent from Dark Horse, and labelled "Ding Dong" "a string of greeting-card clichés with trite music to match".Schaffner, p. 178.
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Accessed 1 February 2011. The encyclopedia of British film, in the entry about director Anthony Page, says it is "about as witless and charmless as could be conceived". Variety magazine notes that the script is "best when dwelling on English eccentricity to make the film's most endearing impression...Shepherd and Gould stack up as contrived cliches, characters that jar rather than complement." Film4's review agrees, writing that the two leads are "ruthlessly upstaged by loveable old coves Arthur Lowe and Ian Carmichael as cricket-mad Charters and Caldicott".
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Jacques Belin, a famous TV gameshow host, awaits his fiancée on New Year's Eve in the café of the Gare de l'Est in Paris. When she fails to show up, he meets a woman named Frède, a charmless and rather vulgar woman, just out of prison, who is drinking the night away while waiting for her morning train to Metz where she is going to live with her sister. Complete opposites, Jacques and Frède's respective solitudes bring them together as they talk and drink. An eventful and unforgettable evening follows ...
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They were short a girl singer and she jumped at the opportunity. The band had decided if they were going to make it, Carbondale was not the place and planned to relocate to Austin. This was Colvin's ticket out of that charmless city.Shawn Colvin autobiography Diamond in the Rough, pages 49–57 She then entered "the folk circuit in and Berkeley", CaliforniaKoster, Rick (2000) Texas Music, First St. Martin's Griffin, page 219, retrieved May 25, 2012 before straining her vocal cords and taking a sabbatical at the age of 24.
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"Charmless Man" is a song by English alternative rock band Blur and is the fourth track on their fourth studio album, The Great Escape. It was released on 29 April 1996 as the fourth and final single from that album, reaching number 5 in the UK Singles Chart. The inspiration for the song was a visit by Albarn to his grandmother in Lincolnshire. He stopped off at Grantham railway station and when inside the gentlemen's toilet, he noticed a piece of graffiti on a similar theme to the song's title.
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The Boston Herald reviewer Robin Ray offered a scathing review of Winnie the Pooh and Tigger Too', commenting that the game was "mangled", "dull", humourless, and had "simply bad design". A reviewer from The Washington Post had a similar opinion, describing the game as "completely charmless", and that the "colorful, whimsical prose" of the source material had been translated into "leadenness". The Cincinnati Enquirer deemed the titles as "not a video game per se; it's more of an interactive plaything". Arizona Republic felt the later games lacks interesting gameplay and visuals.
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In a memoir written after her death her grandson claimed that James Maclehose's mistreatment of his slaves - and his wife's discovery that he kept a slave mistress - were the decisive factors in her departure. Georgian houses, Calton Hill, Edinburgh. She was described as "short in stature, her form graceful, her hands and feet small and complexion fair, her cheeks ruddy, and a well- formed mouth displayed teeth beautifully white."Mackay, Page 371 Sir Walter Scott recorded having seen her at his friend Lord Craig's House, when she was 'old, charmless and devout'.
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In recent years, the Coliseum has been criticized as being one of the "worst stadiums in baseball". For instance, in 2011, Bleacher Report named it the fifth-worst stadium in the majors, partly due to its expansive foul territory. In 2017 The New York Times called the Coliseum "a bland, charmless concrete monstrosity" that "isn't worthy of preservation... perhaps America's most hated sports stadium". Two years later, in another Times article, writer Jack Nicas not only defended the Coliseum against criticism, he argued that its perceived failings were actually strengths.
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Watters criticized one aspect of villas; he said the game does not properly communicate to players how to gain silver and gold keys, which are used to customize villas. Some reviewers, however, praised the customizable villas; Craddock, in his review of the Switch version, compared them to the house customization mechanics of the Animal Crossing series. According to Drake, the game's island is "where everyone but yourself is actually a robot", referring to a lack of interaction with NPCs. Sterling criticized the NPCs for their design, calling them "faux anime characters" and "completely charmless".
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The album received near-universal acclaim on release, although its critical standing has since diminished. The album continued the band's run of hit singles, with "Country House", "The Universal", "Stereotypes" and "Charmless Man" all reaching the top 10 of the UK Singles Chart. "Country House" was Blur's first number one hit in the UK, beating Oasis' "Roll with It", in a chart rivalry dubbed "The Battle of Britpop". The Great Escape is often considered to be the final album of a trio of Britpop albums released by Blur in the mid-1990s, after Modern Life Is Rubbish (1993) and Parklife (1994).
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The video, directed by Jamie Thraves, starts with a man (the Charmless Man, played by Jean-Marc Barr) running down a dark street with a makeshift bandage or wrapping on his right hand, while cross cut edits show Blur playing in a music hall. After the verse which is accompanied by piano, the band are playing in the man's apartment in his bathroom, whilst the man uses an electric toothbrush and uses some red wine as mouthwash. After becoming fully dressed, the man goes out into the corridor, where the band are again. After pushing Damon Albarn out of the way, he enters a lift.
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'It sticks to the track, makes all the scheduled stops, and bears us triumphantly to the station'. Also, Owen Gleiberman of Entertainment Weekly gave the film a B- stating that the film could have used more 'pizazz'. A middling review came from The A.V. Club's Nathan Rabin, whose C– assessment concludes, "The film functions as the cinematic equivalent of a Shamrock Shake: sickeningly, artificially sweet, formulaic, and about as authentically Gaelic as an Irish Spring commercial". A. O. Scott of The New York Times saw it as 'so witless, charmless, and unimaginative, that it can be described as a movie only in a strictly technical sense'.
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" Ambrose also argues that "the creepy dead eyes thing has been fixed." Justin Chang of Variety argues that the screenwriters "have taken some intriguing liberties with the heroic narrative [... the] result is, at least, a much livelier piece of storytelling than the charmless Polar Express." He also argues that "Zemeckis prioritizes spectacle over human engagement, in his reliance on a medium that allows for enormous range and fluidity in its visual effects yet reduces his characters to 3-D automatons. While the technology has improved since 2004's Polar Express (particularly in the characters' more lifelike eyes), the actors still don't seem entirely there.
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UK newspaper The Independent on Sundays female editor wrote: "Everybody's got an opinion about [Kate], haven't they? Even that charmless female Anne Enright couldn't just accept a fat cheque and the Man Booker Prize for her miserable novel about a large family without telling the world, totally gratuitously, that she hated Kate McCann. Her publishers should have put a large brown bag over her head immediately - because to put down someone who is guilty of no crime, except being fit and attractive, is thoroughly repellent. I urge you not to buy Enright's book until she apologises for this slur on another member of the sisterhood".
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Live at the Budokan is a two-disc live album by British band Blur, recorded during the 1995 tour for their album The Great Escape, at the Budokan on 8 November 1995. Two songs performed at concert that didn't make the cut for the album can be found on the Japanese single, "It Could Be You": "Charmless Man" (originally performed before "Jubilee") and "Chemical World" (originally performed before "Coping"). The version of "She's So High" is an anomaly, as it is actually the 9 November 1995 performance from the NHK Hall in Tokyo. Until 2009, Live at Budokan was the only official standalone live Blur album.
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Additionally, almost all the animations were removed or made static. Upon re-opening, the redesigned attraction received highly negative response for having removed the animations and humour of the ride and for the flawed alterations to its soundtrack, lighting and animations (including dubbing over most of the original theme music with quacking duck sounds). It was noted that the new Bubbleworks was largely a "monotonous... charmless and, at best, highly irritating" advert for its sponsor. The original ride's producer John Wardley refused to ride the new version, having been warned that he "would weep if [he] did", emphasising that he disowned the new version.
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Nick De Semlyen, writing for Empire, gave the film two stars, noting there were powerful moments in the film, but thought it was "too dark for casual viewers (or fans of Tong), too blunt to succeed as cult viewing". The Guardian's Peter Bradshaw gave the film one star, panning it as "breathtakingly charmless and humourless", writing that "Paul Kaye gives a frazzled, one-note performance", while the "appearances by real-life DJs should tip you off that any satire involved is of an essentially celebratory and sycophantic sort; the comedy is leaden, the drama is flat and the attitude to deaf people is Neanderthal".
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In another review of the album for BBC News, Levine called it "charmless genero-banger". Alex Macpherson from Fact panned the track, saying that the "rote, lifeless singing on ['Girl Gone Wild'] sounds as though a guide track was mistakenly kept on the finished song, and arguably marks the worst vocal performance Madonna has ever committed to record." Robert Leedham from Drowned in Sound website felt that the song did not represent the album's sound, hence failed as a single to promote it. Jon Pareles from The New York Times called it "shallow, effective club fodder", describing it as containing "blippy stereo- hopping synthesizers and generic title".
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GamesRadar editor Brett Elston described Bulbasaur as being "popular" for more than just being the first Pokémon numerically, citing its moveset and evolutions. Fellow GamesRadar editor Carolyn Gudmundson, in an article on the "top 7 gut-wrenching choices", listed the choice between fire, grass, or water with Bulbasaur as a "frontrunner", due to being a dinosaur as well as being grass type, though found its later evolutions "ugly and charmless". According to a panel of five-to-eight-year- olds assembled by the Honolulu Star-Bulletin in 1999, Bulbasaur was one of the children's "three favorite Pokémon". One boy in a study by Dafna Lemish and Linda Renee-Bloch identified with Bulbasaur's attributes of being "strong and also cute".
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Reviewing Winnie the Pooh and Tigger Too - the last game in the series - The Washington Post criticised its "charmless[ness]" and "leadenness", adding that its "jerky, disjointed narration are confusing to follow because characters move abruptly from scene to scene without much of a connecting theme". In 1997, The Times London deemed 101 Dalmatians as "Just about the best Disney Interactive title to date". Consumer Reports noted that the quality of the series fluctuates between games, praising 101 Dalmatian while finding fault with Hercules' writing and Toy Story's user friendliness. The Seattle Times suggested that "While the content of these products is fairly shallow, Disney sets high standards for the graphics and animation".
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He just comes over as a strangely charmless, somewhat priggish gay young man." Michael Billington in The Guardian had few good things to say about the production as a whole, but highly praised New's performance: :One idea that does pay off is the casting of a young male actor, Chris New, as Viola. Since the character spends much of the play in masculine attire as Cesario, our attention is constantly drawn to Viola's preoccupation with the sinfulness of disguise and the pathos of her situation. New, clad in an Edwardian cream-coloured suit, has an especially good moment when, in response to Olivia's enquiries about his origins, he pauses guiltily before announcing: "I am a gentleman.
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" Brian Truitt of USA Today gave the film three out of four stars, saying "A delectable treat that balances themes of identity and class warfare with Monty Python-style political skewering, quirky humor and dairy jokes." Mick LaSalle of the San Francisco Chronicle gave the film two out of four stars, saying "One gets the sense that directors Anthony Stacchi and Graham Annable have their hearts in the action sequences and not in the characters, and that's a problem." Michael Phillips of the Chicago Tribune gave the film two out of four stars, saying "The Boxtrolls remains relentlessly busy up through its final credits, and it's clever in a nattering way. But it's virtually charmless.
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CLEO collected data for two years in the CLEO I.V configuration: new drift chamber, ten layer vertex detector (VD) inside the drift chamber, three layer straw tube drift chamber insert (IV) inside the VD, and a prototype CsI calorimeter replacing one of the original pole-tip shower detectors.Berkelman (2004) p. 57 The highlight of the CLEO I.V era was the observation of semi-leptonic B decays to charmless final states, submitted less than three weeks before a similar observation from ARGUS. The shutdown for the installation of DR2 allowed ARGUS to beat CLEO to the observation of B mixing, which was the most cited measurement of any of the symmetric B experiments.
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Initially, Todd, as described by Hayward, was written as "unequivocally bad: sullen, remorseless, charmless". As Todd's popularity grew with the audience, mostly due to Howarth's abilities to portray Todd as more than a one- dimensional rapist, Malone and executive producer Susan Bedsow Horgan chose the controversial option of redeeming Todd rather than killing him off or permanently sending him to prison, which is what soap operas had usually done with irredeemable rapists in the past. The writers began to redeem Todd, or change him so that he could be incorporated into the show, in the spring of 1994, a year after the rape. Hayward states that it required "a whole arsenal of symbolic weaponry," something that had never happened in soap operas before.
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Larry Flick of Billboard magazine said that it has "a bouncy, Supremes-like retro vibe", and called its hook "irresistible". Flick also praised the David Morales remix of the song, calling it "a vibrant, time-sensitive disco ditty", while Howard Scripps from The Press of Atlantic City called it "an obvious girl-group ditty", and added that it "is another potential hit". Conversely, in a review of Spiceworld, Andy Gill of The Independent, called the album a "perky but charmless parade of pop pastiches", and described "Stop" as a "pseudo-Motown stomp". Stephen Thomas Erlewine from AllMusic, commented that the song "consolidates and expands the group's style [...] [adding] stomping, neo- Motown blue-eyed soul in the vein of Culture Club".
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White's Lies is a play written by Ben Andron. The play began preview showings off-Broadway on April 12, 2010 and officially opened on May 6, 2010. Initial reviews were mixed; the New York Times called it a "crass, charmless vehicle" that "plays like an episode of How I Met Your Mother that would be killed in the writers’ room." while Entertainment Weekly gave it a C rating and said it was "the other kind of bad play — the one that's so ridiculous that you can't help giggling at the gaping, craterlike holes in the story and the cliché- spouting characters running around Manhattan in incredibly fabulous, incredibly impractical, incredibly expensive shoes." The show closed on June 13, 2010 after 26 previews and 46 regular performances.
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" James Brundage of AMC filmcritic said the film was "so implausible and so over the top that it lets inconsistency roll off like water on a duck's back." Janet Maslin in the New York Times called the film "a colossally sour and ill-conceived misfire" and denounced the film for "smirky, mean-spirited cynicism." Writing in The Washington Post, Joe Brown said, "To say this megamillion Bruce Willis vehicle doesn't fly is understatement in the extreme... Hudson Hawk offers a klutzy, charmless hero, and wallows dully in limp slapstick and lowest common denominator crudeness." Chris Hicks wrote in the Salt Lake City Deseret News, "What is most amazing is the pervasive silliness that has the cast acting like fools without ever getting a laugh from the audience.
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After some initial business attracted by his name on the marquee, film is fated for pay- cable use." Film Four's review stated: "Sold on the proven teamwork of director Rafelson and actor Nicholson -- who had previously worked together on Five Easy Pieces, The King of Marvin Gardens and The Postman Always Rings Twice -- this romantic comedy proved to be one of their least inspired collaborations. Nicholson plays a grouchy dog-trainer who slowly loosens up in the presence of romantically challenged opera singer Barkin, who needs to get some canine security after a series of death threats. Obviously intended to be a bright and breezy romantic-comedy thriller, it ends up a mangy old mutt of a movie thanks to a charmless script and disastrous casting decisions.
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He became King's Counsel in 1760 and acted as counsel to the Board of Revenue; unlike many of his judicial colleagues he never held office as a Law Officer or as Serjeant-at-law. As a member of Parliament he worked hard to promote the interests of the manufacturers of Irish linen ;Ball p.161 there is no reason to doubt the sincerity of his belief in this cause (it fits well with his known interest in the improvement of agriculture), although Elrington Ball rather cynically notes that his support for the linen manufacturers brought him rich rewards, including a gold box. As an orator (which was a much-prized skill among the Irish public figures of his time) he was badly thought of, being described as "slow, sleepy and charmless".
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Derum left the show after Season 1 to pursue other work and he was replaced for Season 2 by actor-comedian-musician Garry McDonald ("Kid Eager"). McDonald subsequently enjoyed enormous solo success as Norman Gunston, an awkward and charmless regional TV presenter (created by series writer Wendy Skelcher) who made a brief first appearance in a Season 2 episode of Aunty Jack. In collaboration with writer Geoffrey Atherden, McDonald took the character to national stardom in Australia in the late 1970s. Rory's biggest popular music success was the singer and co-composer (with Grahame) on the Aunty Jack Show closing theme, "Farewell Aunty Jack" which was released as a single (and Australia's first picture-disc) in 1974; it became an Australian No. 1 hit single for three weeks.
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" Hannah Ash of The Harber Herald wrote that on F.A.M.E., "She Ain't You" and "Up to You" are "the perfect sweet and cute love songs". While reviewing the album, Sean Fennessey of The Washington Post wrote that "a more appropriate application appears on 'She Ain’t You', which interpolates Michael Jackson's 'Human Nature'. Jackson has long been the emotional, physical and musical forebear to Brown. But on 'She Ain’t You' he begs the comparison, and it isn’t pretty." Jon Caramanica of The New York Times wrote that Brown "has a really charmless way with a lyric, as on 'She Ain’t You'—"When I'm with her it's only 'bout the sex / With you I had a bad romance / And if I could just trade her in I would"—and a voice nowhere near strong enough to make up for it.
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It's like the scares Sully and Mike spring on those sleeping tykes: technically impressive but a job un-anchored to anything more meaningful." Leonard Maltin of IndieWire praised the animation and art direction, but wrote that he wished "the movie was funnier and wasn't so plot-heavy" and that "Pixar has raised the bar for animated features so high that when they turn out a film that's merely good, instead of great, they have only themselves to blame for causing critics to damn them with faint praise." Michael Phillips of Chicago Tribune gave the film two stars out of four, saying "Monsters University, the weirdly charmless sequel to the animated 2001 Pixar hit Monsters, Inc., is no better or worse than the average (and I mean average) time-filling sequel cranked out by other animation houses.
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He was one of the great servants of English cricket and took a record 236 Test wickets at an average of 24.89 despite carrying England's bowling attack against the powerful Australian teams of the post-war era. Bedser was made an England selector in 1962 and Chairman of Selectors in 1969, a post he held until 1981. As a bowler he had been willing to toil all day if his captain demanded and saw team spirit and dedication as qualities needed by any England player, which led to problems with his two best players, Geoff Boycott and John Snow, who he did not see as team players. Geoff Boycott was a dedicated if charmless opening batsman who had made 657 runs (93.85) in the 1970-71 Ashes series, but was an awkward tourist who had argued with the Australian umpires.
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That Darn Cat received generally negative reviews, currently holding a 13% rating on Rotten Tomatoes amongst critics.The films Rotten Tomatoes page Stephen Holden of the New York Times was not impressed, remarking, 'The opening scenes in That Darn Cat suggest that the movie might have found a gently sarcastic attitude in tune with the know-it-all mood of the late 1990s ... Unfortunately, it isn't long before this wised-up tone gives way to a desperate, mindless freneticism that leaves Ms. Ricci mired in her sulk.' Joe Leydon of Variety said 'It's not quite a catastrophe, but the updated remake of "That Darn cat" is a loud and largely charmless trifle.' James Berardinelli of Reelviews was a little more lenient, stating '(the film) is a little more quirky than many Disney films, although that trait doesn't make it appreciably more watchable.
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The British foreign secretary Anthony Eden wrote after meeting Umberto in a message to London that he was "the poorest of poor creatures", and his only qualification for the throne was that he had more charm than his charmless father. The historian and philosopher Benedetto Croce, a minister in the Badoglio cabinet, called Umberto "entirely insignificant" as he found the crown prince to be shallow, vain, superficial, and of low intelligence, and alluding to his homosexuality stated his private life was "tainted by scandal". The diplomat and politician Count Carlo Sforza wrote in his diary that Umberto was completely unqualified to be king as he called the crown prince "a stupid young man who knew nothing of the real Italy" and "he had been as closely associated with fascism as his father. In addition he is weak and dissipated, with a degenerate and even oriental disposition inherited from his Balkan mother".
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Among Beatle biographers, Robert Rodriguez includes McCartney in his chapter covering the worst solo albums issued by the former band members between 1970 and 1980, saying: "For anyone wanting to get to the root of the most common rap against Paul's solo output, look no further …"Rodriguez, p. 178. While bemoaning the lack of quality control that allowed "charmless ditties" such as "Teddy Boy" to go under- developed, Rodriguez writes: "What made McCartney so frustrating a listen was not the absence of compelling musical ideas; it was the abundance of them. Had melodies like 'Momma Miss America' been teased out into compositions with a beginning, middle, end, and point, McCartney could have ended up as highly regarded in its own way as Plastic Ono Band: a full slate of focused, listener-friendly pop confections that might very well have given fans far less cause for bitterness at the Beatles' breakup."Rodriguez, pp. 178–79.
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