Ms Kilalea sketches this sad, slightly surreal situation without mawkishness or morbidity.
|
|
A cloud of mawkishness looms, though it never quite overshadows the rest.
|
|
Even when Kit warms up to Sunny, Halpern never lets them fall into mawkishness.
|
|
Perhaps, while watching, I was on guard against the possibility of O'Neill's occasional mawkishness interfacing with Whitaker's.
|
|
These public efforts bring authenticity to the play but also permission to explore its frank humanity without mawkishness.
|
|
" Sorenson didn't have a lot of time for mawkishness, but that idea, she said, "is just beautiful to me.
|
|
She is one of the few artists who can pull off being this visceral without sliding into bombast or mawkishness.
|
|
The movie smartly looks to be inspiring rather than preachy, and except for some mawkishness in its late scenes, comes off as unexpectedly watchable.
|
|
But the death of a child, generally treated with mawkishness, is handled here with riveting creepiness — not to mention a hint of bad taste.
|
|
There was the inane unoriginality of Life's Too Short, the muddled mawkishness of Derek and, most dispiritingly of all, the self-defacing mediocrity that was David Brent: Life on the Road.
|
|
Expecting to complete SN1 on Friday "I think I can say, without irony of mawkishness, that this is the most important electric car ever produced," said Michael Ramsey, research director at Gartner.
|
|
Generally, Hooper pulls away from loony-tunes excess, tries for sexy rather than freaky, and plucks at heartstrings, a reflex that pulls the story into mawkishness, particularly when he cuts to Victoria.
|
|
In his letters, Van Gogh touches on the ambivalence Fortuny provoked and still provokes, the sense that his delicacy – what some might call his mawkishness – makes him something less than a proper artist.
|
|
If that means that "The Prom" trades in some of the same cheesy mawkishness it satirizes, that's O.K. Cheese has always been part of the American recipe — and rarely hurt the apple pie underneath.
|
|
He inflicted on the audience an extraordinary exercise in obsequiousness, arrogance and mawkishness: obsequiousness toward President Trump, whose name seemed to appear in every other sentence as some God-given fount of wisdom; arrogance toward the Europeans who were admonished, as vassals, to tear up the multilateral Iran nuclear deal, which is enshrined through a United Nations resolution in international law; and mawkishness over a visit to Auschwitz last week that was used to convey a message to Europeans that if they did not obey American orders on Iran they are de facto anti-Semites.
|
|
"As strange as it sounds, DeVito's performance is about the only aspect of the film that isn't wholly fraudulent, if only because his typical feisty abrasiveness protects him from sinking to the level of Marshall's mawkishness," wrote Hinson.
|
|
But the libretto (which has additional lyrics by Barry Singer, E.M. Lewis and Edward Einhorn) is proliferated with lame rhymes ("I need to go, I need to grow," young Erich tells his parents) and often wallows in mawkishness.
|
|
Search Twitter for "commercial" plus "the feels" — a two-word divining rod for deep wells of internet mawkishness — and you'll find a phalanx of people attesting to how moving they found the Clio ad, the Subway ad and others like them.
|
|
Dismayed about ripping off do-gooders — mawkishness is the only aspect in which "Bad Santa 2" outpaces its predecessor — Willie is not above beating up a street Santa (Mike Starr) who gets into a dispute with him over a spot to stand.
|
|
And not just the urgent physical event of adulterous sex — though that's wonderfully well described, shot through with guilt and risk and yet presented entirely without mawkishness or sentimentality — but also its interminable emotional navigations and negotiations, the deceit and the guilt, the quotidian tug of war between desire and (in Bonnie's case anyway) loneliness.
|
|
When she writes that Landon's "Flowers of Loveliness" is "not blandly shallow but deeply shallow", or that what might first be read as "mawkishness" is really a "channel" for "suppressed personal rage", or that her "naive sentimentalism" reveals "bitter and cynical depths when voiced", the modern reader returns to the poems, reads them aloud and concludes: shallow, mawkish, sentimental.
|
|
Detractors may have called his approach novelettish and accused him of at least occasional mawkishness, but he was able to engage with audiences on a level that many, more timid, British directors of his era were not.
|
|
An opponent of both strict Realism and rural traditionalism, Zamfirescu ridiculed the works of Junimist novelist Ioan Slavici as "sentimental mawkishness".Ornea, p.260 Such contradictions have literary historians such as Tudor Vianu to leave him out of their essays on Junimism.
|
|
She blamed this mawkishness on the use of Treves's memoirs as source material. The Elephant Man has since been ranked among the best films of the 1980s in Time Out (where it placed 19th) and Paste (56th). The film also received five votes in the 2012 Sight & Sound polls.
|
|
Pinsker had never yet read it, but was aware of the distant and far off Hibbat Zion. Herzl's philosophical instruction highlighted the weaknesses and vulnerabilities. To Herzl each dictator or leader had a nationalistic identity, even down to the Irish from Wolfe Tone onwards. He was drawn to the mawkishness of Judaism rendered distinctively as German.
|
|
At times it works for the emotion to seep in but many times over elaboration dilutes the punch. The music is a let down. Kareena Kapoor deserved a better song and choreography for the special appearance." Shubhra Gupta of The Indian Express summarized, "Akshay Kumar, Sidharth Malhotra's film gets dragged down by its over-wrought mawkishness.
|
|
Rick Anderson of AllMusic gave the album 4 stars out of 5, describing it as "a debut album of impressive beauty and maturity, one that documents a long musical and personal voyage fraught with heartbreak, but never succumbs to self-indulgent sentiment or confessional mawkishness." Euan Ferguson of The Skinny called it "a deeply soulful and promising debut." Charles Aaron of Spin listed it as the best album of 2010.
|
|
His criticism centered on "Ballerina" for its mawkishness and lack of interest in some of the faster songs. Meanwhile, Stephen Thomas Erlewine of AllMusic retrospectively gave Dancing on the Ceiling four out of five stars, summarizing that, overall, the album was "a solid, enjoyable affair". He considered, however, it a "comedown" after Richie's previous albums, with its songs generally longer than necessary and the lyrics mixing "silliness ... and sappiness".
|
|
Luc Boulanger gave it three stars in La Presse, saluting Hawkins and expressing regret Lewis' art was obscure in Quebec. In Ireland, Donald Clarke called it a "wonderful study" in The Irish Times, finding the tone sad and remarking on poverty as subject matter, but said it displayed "benevolence and quiet humanism", and gave it four of five stars. The Irish Independents Paul Whitington wrote "Maudie cleverly avoids mawkishness and sentiment to give us a raw and pared back version of Lewis's remarkable life".
|
|
The reforming movement sought to throw off the conventional and the artificial, and to return to truth. Apostolo Zeno and Metastasio (the Arcadian name for Pietro Trapassi, a native of Rome) had endeavoured to make melodrama and reason compatible. Metastasio gave fresh expression to the affections, a natural turn to the dialogue and some interest to the plot; if he had not fallen into constant unnatural overrefinement and mawkishness, and into frequent anachronisms, he might have been considered the first dramatic reformer of the 18th century.
|
|
Here she became friends with James Cousins, who described here as "tall, stately: an embodiment of sweetness and gentleness, sweetness that has no mawkishness in it, and a gentleness resting on fixity and fearlessness." Like many of the descriptions of her, it appears idealised, referring to her modesty, good looks, and calmness. On 13 July 1909, she arrived on the Great Blasket Island, staying in the house of Pádraig Ó Catháin who was called "the King". Enchanted by the island, she decided a long stay.
|
|
" SFScope contributor Sarah Stegall liked Frank's final conversation concerning Fauxlivia's pregnancy, praising the plot twist's potential to "make for some interesting drama, perhaps even allowing the show to get past the inevitable mawkishness of most pregnancy stories." However, there was some negative fan feedback concerning the pregnancy storyline. In reaction to this, Jeff Pinkner commented, "Our interpretation of it is that people desperately want to see Olivia and Peter together. And that Fauxlivia having a baby makes Olivia’s life that much harder and people are angry because of that. Anything that makes Olivia’s life harder, people seem to be angry at.
|
|
Somewhere in the middle of this beautiful, meditative film comes the greatest lesson of all: that a perfect, poetic goodbye doesn't have to wait for the end.". Shubhra Gupta of The Indian Express gave the film a rating of 3.5 stars out of 5 and said that, "There’s much to like about Mukti Bhawan. It brings to us themes which are either ignored or dealt with in our cinema with mawkishness and heavy sentimentality. Bhutiani removes the cloyingness and replaces it with a moving matter-of-fact acceptance of the final destination: this is a director to watch out for.
|
|
Angel is a fictional representation of the kind of temporarily popular writer of romances such as Marie Corelli, Ouida, or Ethel M. Dell. Matthew Walther argues that "the book is not really a roman à clef so much as it is a kind of horrifying anti-memoir, Taylor’s sounding of her own experience and dredging up her worst fears as a young female writer: mawkishness, philistinism, naïveté, stupidity, solipsism." Angel was reprinted by Virago Press in 1984 with a new introduction by Paul Bailey. In 2007, Angel was turned into a movie by French director François Ozon.
|
|
Her poems which have survived, however, appear to the modern reader as being too syrupy for comfort, too sentimental to the point of mawkishness, and utterly devoid of form. Fr. Justo Claudio Fojas, an Ilokano secular priest who wrote novenas, prayerbooks, catechism, metrical romances, dramas, biographies, a Spanish grammar and an Iloko-Spanish dictionary, was Leona Florentino's contemporary. Isabelo de los Reyes, Leona's son, himself wrote poems, stories, folklore, studies, and seemingly interminable religious as well as political articles. The achievement of both Claudio Fojas and de los Reyes is possibly more significant than the critical reader of Iloko literature today is ready to admit.
|
|
Nathan SouthernReview in TV Guide Jonathan Henderson of Cinelogue stated: "[T]he film...in its heavy-handed crudeness...plays out like a typical, manipulative melodrama. ...Another element that plagues the film is its unrealistic depictions of misogynistic men. [It] is marked by an overtly formulaic script, which too neatly follows the three-act structure with a pattern of introduction, elation, conflict, descent and recovery. The film’s pacing problems are exacerbated by a profusion of abbreviated, deficient scenes which interrupt the flow of the narrative. [Belén] Fabra’s performance during [her] emotional scenes is nearly strong enough to make me forget about the manipulative mawkishness behind them".
|
|
The film was screened at the 2008 Hong Kong International Film Festival, where it was reviewed by Maggie Lee of The Hollywood Reporter, who echoed the criticisms that the film had too many elements. "Director Kongdej Jaturanrasamee is in two minds about turning his script into Jim Carrey-like slapstick, a candy floss romance with a dash of magical fantasy, or an offbeat road movie. He handles none of these generic variations with enough care, leaving each dangling like an unwanted arm." Russell Edwards of Variety also said the problem was the script, which "like many comedies with a sentimental streak, gets lost in mawkishness ... the idiosyncratic "Handle" becomes too slow and self-pitying".
|
|
He conducted Mozart's reiterated seven-note setting of the word "eleison" in the "Christe eleison" passage like a lover clinging on to the object of his devotion. Happily one's fears that his interpretation might be about to lapse into mawkishness were dispelled by a "Gloria" that opened with a plenitude of energy, and with rhythmic vitality in the words "in excelsis". In this quick music, he set a faster tempo than was customary, just as he had earlier chosen an unusually slow tempo for the "Kyrie"'s andante moderato – maybe he had decided to emphasize the Mass's drama. Nobody could accuse him of treating the score with nothing more ambitious than a buttoned- up politeness.
|
|
Mike Long of DVD Talk gave the season 4.5 out of 5 stars, highlight the season's plotlines and dialogue despite its shortened length. Bryan Buyn of DVD Verdict found the series at this point to be pandering to the public, criticizing the continued focus on the four girls "chasing "cute boys" and blathering endlessly over breakfast about sex, relationships, and sex." Buyn, however, stated that the criticism "stems from the fact that the show is just good enough to make me wish it were better", and offered praise to the leading actresses' performance. Dan Jewel, writing for Media Life Magazine, praised the series for portraying Miranda's motherhood honestly and for giving the characters more depth, noting that the show walks a "fine line" between poignancy and mawkishness.
|
|
99 Writing in 1975, R. D. Mullen declared that in More Than Human, "[Sturgeon] had a theme well suited to his talents and inclinations, [and] the result is a book that pretty well avoids the mawkishness that mars most of his work. This book is not a masterpiece, but it comes pretty close.""Reviews: November 1975", Science Fiction Studies, November 1975 Aldiss and Wingrove found that the novel "transcends its own terms and becomes Sturgeon's greatest statement of one of his obsessive themes, loneliness and how to cure it."Aldiss & Wingrove, Trillion Year Spree, Victor Gollancz, 1986, p.293 In 2012, the novel was included in the Library of America two-volume boxed set American Science Fiction: Nine Classic Novels of the 1950s, edited by Gary K. Wolfe.
|
|
His biographer Gordon A. Craig claims that this gave few indications of being a gifted writer: "Although the theme of incest, which was to occupy Fontane on later occasions, is touched upon here, the mawkishness of the tale... is equalled by the lameness of its plot and the inertness of the style in which it is told, and [the characters] Clärchen and her brother are both so colourless that no one could have guessed that their creator had a future as a writer."Theodor Fontane: Literature and History in the Bismarck Reich (Oxford University Press, 1999), Fontane's first job as apothecary was in Dresden, after which he worked in his father's shop in the town of Letschin in the Oderbruch region. Fleeing its provincialism, Fontane published articles in the Leipzig newspaper Die Eisenbahn and translated Shakespeare.Wolfgang Hädecke: Theodor Fontane - Biographie.
|
|
The film easily could have descended into mawkishness, but instead the travails of Kris and Abe feel entirely real, and thus all the more moving. Silverstein takes Bull by the horns and drags us into this world, making us feel a part of these characters, witnessing their strengths and weakness as they come to grips with the challenges of life in their Texas town." The film has also been compared to the film, The Rider, but has been keenly distinguished: "far from being a carbon copy, it is another multifaceted cinematic examination of characters that are often pushed to the peripheries or treated with pity. It’s a fantastic narrative feature debut for Silverstein, and more than worthy of Un Certain Regard." Forbes notes that "[i]t’s not often that a piece of cinema like this comes along, something so simply composed and precise, that it is genuinely affecting.
|
|
" One notable unfavorable opinion appeared in the Daily Mail: the entire genre, as well as the genre of young- adult novels dealing with suicide and self-harm was criticized as being "distasteful" and inappropriate for their target audience of teens. The Guardian criticized the piece, pointing out in particular that The Fault in Our Stars was chosen by The Guardian as that month's "teen book club choice" because "it's a gripping read, featuring two compelling characters, that deals sensitively and even humorously with a difficult situation without descending into mawkishness." In general, The Guardian faulted the Daily Mail for suggesting that the issues of illness, depression, and sexuality are inappropriate precisely "in the one place where difficult subjects have traditionally been most sensitively explored for teens: fiction written specifically for them." For his part, in an interview for The Guardian, John Green said: "The thing that bothered me about The Daily Mail piece was that it was a bit condescending to teenagers.
|
|