Films that cater to what's comfortable and capitulates to the most unimaginative fans?
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Ballet Theater has often seemed the world's most unimaginative company, interested chiefly in repackaging a safe notion of ballet's past.
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On one of these disastrous dates, I made the rookie mistake of agreeing to have dinner with the world's most unimaginative man.
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It's marginally better than the most unimaginative (and nondescript) Galaxy F alternative, but it's also grammatically wonky and, to my ear, a little too close to the Ford Galaxy to be a truly exciting name.
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Skull of P. mauretanicus Four species have been formally described, but several other named taxa of pseudotooth birds might belong in Pelagornis too. The type species Pelagornis miocaenus is known from Aquitanian (Early Miocene) sediments – formerly believed to be of Middle Miocene age – of Armagnac (France). The original specimen on which P. miocaenus was founded was a left humerus almost the size of a human arm. The scientific name – "the most unimaginative name ever applied to a fossil" in the view of Storrs L. OlsonOlson (1985: p.
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Neoconservative commentator John Podhoretz, calling on Bush's son to invade Iraq, says: :Bush the Elder was the most unimaginative president of the second half of the 20th century, and his senior advisers were among the most mediocre ever to staff an administration. Even their most impressive accomplishment, the Persian Gulf War, was a triumph of the most literal nature: They used overpowering force to accomplish a narrow aim and displayed shockingly poor foresight about what it would mean to leave Saddam Hussein in power in Iraq afterward. John Podhoretz, “Beyond Bush 41,” New York Post, August 20, 2002, p 25, quoted in Sparrow, p 143.
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" Suhani Singh of India Today also gave the film 1 out of 5 stars, calling it "an exasperating romantic drama with astounding levels of ludicrousness." She says that it "begins with the dullest, most unimaginative boy-meets-girl story and it only goes downhill from there." She was especially critical of the writers, who noted that their characters "laugh needlessly and excessively or say things like 'How profound' or 'So beautiful' at random intervals." In conclusion, Singh was left unimpressed, saying "If Namaste England tries to say anything at all, it's that it is easier to get married and harder to stay in love.
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Critical reception for Dark House has been predominantly negative and the film holds a rating of 11% on review aggregate Rotten Tomatoes, with an average rating of 2.8/10, based on 11 reviews. The New York Times and The Hollywood Reporter both panned the film, with the latter stating that "The generic title is not even the most unimaginative element of this overstuffed, cliche-ridden horror film." Nerdist News also criticized the film, as they felt that it contained too many elements that "merely clutters up a film that might find more power in being simple." As is common with Salva's films, some critics, such as John Squires of Bloody Disgusting, refused to review the film based on the director's criminal convictions for child molestation and child pornography.
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But the added, structural variations recall Diabelli's waltz, not Bach or Mozart or Cramer, and clearly highlight its most unimaginative aspects, especially its repetition of the C major tonic chord with G emphasized as the high note and the static harmony thus created. The first of the three added variations is No. 1, a "mock- heroic" march which immediately follows Diabelli to open the set dramatically, echoing in the right hand the tonic triad of the theme while the left hand simply walks down in octaves Diabelli's descending fourth. No. 2 even maintains the repeated root-position triad, demonstrating the intent to keep the beginning of the set somewhat anchored. Afterwards however, Diabelli is barely recognizable until Variation 15, the second structural variation, a brief, lightweight piece conspicuously inserted between several of the most powerful variations (Nos. 14, 16 and 17).
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Among the many stars directed by Seiter during his long career were Shirley Temple, Fred Astaire, Ginger Rogers, Henry Fonda, Margaret Sullavan, Barbara Stanwyck, Jack Haley, Deanna Durbin, Jean Arthur, John Wayne, Fred MacMurray, Lucille Ball, Rita Hayworth and the Marx Brothers. As a director, on occasion, if he ran into friction from his star—as was the case with Lou Costello in 1946's Little Giant—Seiter would get even by adhering religiously to the script, refusing to add any nuance or creativity to the project (this pettiness may have been the reason that one prominent actress of the 1930s referred to Seiter as the most unimaginative director she'd ever worked with). On his final four films, before he retired in 1954, Seiter functioned as both producer and director. These films included The Lady Wants Mink (1953), a gentle satire of the then topical "raise your own coat" craze.
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