They aren't the emptiest spaces in terms of physical objects, but they may be the most vacuous.
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I'm locked out from the most vacuous social network I'm signed up for, and it's pissing me off.
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It's an interesting point about the digital communities we form, but at the same time this is the most vacuous, unfulfilling community imaginable.
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Royal weddings typically elicit the most vacuous coverage — idle speculation about the cost of the bride's dress, design of her tiara, the wedding cake, her bridesmaids and such.
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"'Cats' turns the most vacuous stage musical of the 1980s into a big-screen litter box for the hammiest of stars to unload into," Peter Howell of The Toronto Star wrote.
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" Among less favorable assessments, Andrew Clements in the Guardian gave a CD of Higdon's music a minimal one-star rating. He referred to the music as "American contemporary music at its most vacuous, a noisy mishmash".Guardian: Higdon: Concerto for Orchestra, accessed June 21, 2010 Tom Service, also in the Guardian also criticized Higdon's Concerto For Orchestra. He wrote: "The problem with Higdon's piece ... is that its flamboyant gestures ... function only as surface effects, without creating any real structural momentum.
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Against the odds, the Harry Potter star gives a sharp, knowing smart performance as Nicki." Peter Travers of Rolling Stone wrote, "Emma Watson is sensational as Nicki, an underage club girl and actress wanna- be, who lives in a universe of Valley Girl narcissism eons away from Hogwarts." Even critics who gave the film overall negative reviews singled Watson out for praise, with Peter Howell from the Toronto Star saying, "The undistinguished young cast of The Bling Ring has just one standout, and that's Emma Watson, who plays one of the most vacuous of the juvenile thieves. We know her best as the brainy Hermione Granger from the Harry Potter movies, and she can obviously do brainless equally well.
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Andrew Farach-Colton of Gramophone praised the Concerto for Orchestra, saying, "One expects a concerto to be virtuosic, and Higdon peppers this one with solos for the first-desk players, while also offering plenty of opportunity for more general orchestral muscle flexing." Reviewing a performance by the Mannes College The New School for Music Orchestra, Allan Kozinn of The New York Times lauded the piece as "accessible but technically demanding" and wrote, "Like the concertos for orchestra by Bartok and Lutoslawski, this is a showpiece that makes demands on every section and often calls for unusual timbres: the quickly descending violin glissandos, which create an almost electronic effect in the third movement, for example, or the eerie bowed percussion sounds that open the fourth." Kozinn further remarked: Conversely, Andrew Clements of The Guardian called the piece "supremely forgettable" and "an example of American contemporary music at its most vacuous, a noisy mishmash of early 20th-century styles".
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