What it doesn't mean is that I'm boring or uninventive or plain.
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" In case you didn't know, Urban Dictionary defines vanilla sex as "boring. uninventive. plain. sex.
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On initial encounter, they seem to be boxy, uninventive riffs on old-style Minimalist abstraction.
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Figurative artists, like Charles White, a socialist-realist, were often considered by museums to be formally uninventive.
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In it, he laments the rise of clickbait and the undeserving, uninventive attention-seekers who now colonise YouTube.
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The lyrics are uninventive, the highest note is too high ["biiiiiiiieeerrrrth"], and the rhythm of the last line begs to be sped through.
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Boring, uninventive songs like "Talk" by Khalid, "Always Remember Us This Way" by Lady Gaga, and "Someone You Loved" by Lewis Capaldi were nominated in major categories.
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Another viewer called the movie "cheesy and pretty uninventive" and said that it was "a lazy TV movie that will be forgotten as soon as it ends."
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It's looking a lot like OS X will be renamed MacOS this year, bringing it in line with the functional-but-uninventive naming scheme used by iOS, tvOS, and watchOS.
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When you think of a traditional "bar," you might picture a dark establishment, where dim lights could be used to obscure an uninventive menu or a floor in desperate need of a wash.
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This is perhaps why its storyline — despite all the valid circulating critiques of how it is shallow and uninventive, even racist and colorist — might not even matter for some viewers who are eager to have racial loss compensated.
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Character-actor mainstay Shea Whigham is reduced to "git'er done" levels of gumption as FBI hostage rescue agent Richard M. Rogers; a desperately uninventive decision to cast Julia Garner as Waco victim Michele Jones turns the talented Electrick Children actress into a manic-pixie-cult-girl.
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It's almost a class marker: the swearword of someone who would never let themselves get angry enough to resort to mere vulgarity, to say something as uninventive as fuck; the cockwomble-sayer wants to float above her enemies on a roving cloud of gentle and untroubled disdain.
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However, no matter how many expert voices loudly and adamantly confirm that it is technologically impossible to limit backdoor privileges to one party without making the whole system vulnerable, some officials continue to dismiss the tech industry as uncooperative and uninventive — completely rejecting the mathematics behind strong crypto.
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Far from a relic of a less sophisticated era or an embarrassing marker of an out-of-touch bar and an uninventive bartender, when done properly the caipirinha can capture the qualities the city's top bartenders are striving for, being both distinctly Brazilian and a showcase of skill.
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One such hater — whose name makes us suspect he may or may not be the president of the United States — spouted tired (and really uninventive) anti-LGBT jokes: "IF I HAD A DIME FOR EVERY GENDER I'D HAVE 20 CENTS" Pro tip: bullying is a reportable offense in Splatoon 2.
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Trouser Press compared the album to those of former member Coolio, writing that the combination of classic samples and hard rhymes made for an "unwieldy" and "uninventive" record.
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Most anthropology scholars dismiss hyperdiffusionism for a variety of reasons. The theory assumes that humanity is singularly uninventive and can rarely create tools to meet the challenges of the environment.Padden, R.C. "On Diffusionism and Historicity". The American Historical Review, Vol.
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Although the residential buildings incorporate uninventive and basic designs, they are built in a solid way, so as to cope with aging very well. Svetog Petra Cetinjskog Boulevard in this part of town is favourite promenade of Podgorica citizens, and is lined with numerous cafes and restaurants. This part of town is also home to the various Government ministries and agencies and Morača Sports Center.
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Dark Eden was author Chris Beckett's second novel. Reviews were generally very positive in the United Kingdom. Stuart Kelly in The Guardian called it a "superior piece of theologically nuanced science fiction", although he noted that the novel drew a little heavily on Russell Hoban's Riddley Walker and Will Self's The Book of Dave. Author Paul Di Filippo, reviewing the book for Locus magazine, described the plot as uninventive but "so splendidly [written] it feels brand new and remade".
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Upon the release of Restored, "Lay Down My Pride" received mostly positive reception from critics. Christa Farris of CCM Magazine described the song as a "full-on rocker". John DiBiase of Jesus Freak Hideout praised the song as one of the strongest songs on the album, opining that "Camp stretches his vocal style slightly further than usual, offering a strong chorus and anthemic rhythm". Russ Breimeier of Christianity Today, however, felt the lyrics in the song were uninventive.
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Stephen Whitty of The Newark Star-Ledger, in a review for The Portland Oregonian, gave the film a C+ rating, agreeing it was unoriginal and uninventive, comparing it to The Purge and The Last House on the Left. Scott Bowles of USA Today gave You're Next a negative review, describing it as repetitive and stating that it did not have a purpose. Total Film placed Erin (Sharni Vinson) at number one on their list of "50 Most Bad-Ass Female Horror Leads".
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Ed Gonzalez of Slant Magazine gave a particularly negative review, criticizing it for misogyny and sexual objectification, adding that Ben is "just as skuzzily self-absorbed as his perpetually horny mates." Jim Ridley of The Village Voice said "[t]he movie is too cute by half, made close to unbearable whenever Ben's narration spews glib pseudo-profundities about memory and temporal stillness", while also complimenting some of its comic and visual elements. Desson Thomson of The Washington Post was also critical, describing Ben and Sharon's romance as uninventive and the film as shallow.
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Already frustrated with the combat, Clark said frame rate drops and frequent loading screens worsened the experience. He found that the narrative became weaker in the final chapters. Hurley viewed the combat as "functional at best"; "solid if uninventive", and chastised how small decisions led to big mistakes, which he felt forfeited responsibility for one's actions. Tyrrel cited lip syncing as a primary concern of the animation, criticised the lack of variety in combat, and experienced the same technical difficulties as Mersereau, Utley, and Clark, albeit noting that they amounted to minor annoyances.
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Upon release, critics noted that Cydonia merged pop, trance, and ambient-dub, which they felt to be a conglomeration of bland vocals and uninventive ambience. NME harshly described it as "a stillborn relic, flawed throughout by chronically stunted ambitions" and describing its only appropriate audience to be "old ravers" seeking nostalgia. With the album came the single "Once More" featuring remixes from Bedrock and Mark Pritchard. Paterson believed that "Centuries", another vocal piece from Cydonia, was also worth releasing as a single, but Island chose to wait and see how successful the album was before making a final decision.
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Upon release, critics noted that Cydonia merged pop, trance, and ambient-dub music, which they felt to be a conglomeration of bland vocals and uninventive ambience that lacked the appeal of the Orb's earlier work. NME harshly described it as "a stillborn relic, flawed throughout by chronically stunted ambitions" and describing its only appropriate audience to be "old ravers" seeking nostalgia. The Orb were generally regarded by the British press as past their prime and an "ambient dinosaur" out of place in the current dance music environment. After the release of Cydonia, Hughes left the group for undisclosed reasons, becoming "another acrimonious departure from the Orb" according to The Guardian.
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The Altar and the Door received positive to mixed reviews from critics upon its release. Particular praise was given to the lyrics and the album's overall concept, but some critics felt the album's sound was mediocre and uninventive. The album received the award for Pop/Contemporary Album of the Year at the 39th GMA Dove Awards. It sold 129,000 copies in its first week, a record for a Christian album with no secular media support, enabling a debut at number one on the Billboard Christian Albums chart and number two on the Billboard 200 and Digital Albums charts, only blocked on the latter charts by the soundtrack for High School Musical 2.
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RAPP, who led the 1930 anti-Bathhouse campaign All three premiere performances of The Bathhouse in Leningrad and Moscow evoked stormy criticism in the Soviet press. According to Krasnaya Gazeta, the issue of bureaucratism in it was "handled... superficially and one-sidedly," the play's fantasies being "abstract and bloodless." "The audiences remained emotionally cold and were indifferently trying to follow the plot which in itself occasionally is muddled," wrote a reviewer.Krasnaya Gazeta, 31 January 1930, the evening edition In his bid to expose this vice, Mayakovsky "failed to provide the class analysis of the bureaucratism… The People House's Drama Theatre's production by V. Lyutse proved to be uninventive and only aggravated the author's fallacies," Leningradskaya Pravda (2 February) argued.
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A comment on the game from two years later termed the game "a by-the-numbers shooter". A review from GameSpot was more favorably inclined; claiming the game was in "the upper echelon of the shooter heap", they found the graphics to be "appealing", and felt that the "frenetic action" caused by the nearly overwhelming number of shots on the screen at once made the game exciting and fun. They did criticize the game's balance; they called some of the boss fights "tedious", and felt that the gun upgrade made much of the game too easy. Robert Falcon of Modojo, in his review of the game, summarized Brave Shot as "fast-paced" and fun, but also simple and "uninventive".
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" Greenblatt presumed that at the time her fan base would remain young females due to her way of communicating with them, but would grow over time. Alexis Petridis of the British newspaper The Guardian had mixed opinions about the album; he thought it was certainly "bland and uninventive", yet executed incredibly well. Over the course of listening to it, he queried if more music of the sort was needed, and concluded that "the feeling that the world is going to answer your query in the affirmative swiftly overwhelms you." Jody Rosen of Rolling Stone called Swift "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture that [...] calls to mind Swedish pop gods Dr. Luke and Max Martin.
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"My Plague" received mixed reviews from critics. Tom Dunne of Hot Press magazine hailed the song as "stupid, staged, ridiculous and laughably over the top", which he claimed made it "essential listening". Playlouder writer William Ruff and Dotmusic writer John Mulvey both praised the song's lyric "You fucking touch me I will rip you apart/I'll reach in and take a bite out of that shit you call a heart", however this line was criticised by Tom Sinclair of Entertainment Weekly as uninventive. Louis Pattison of the NME complained that "you can spot a Slipknot single a mile off: they're the very average ones that feature big, echoing stadium-goth vocals, rather than the sound of a man screaming so loud that his gall bladder evacuates his body through the mouth", describing the track as "Not, let's be fair, primest 'Knot material".
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" Kornhaber added that even though the Max Martin production "feels perfectly calibrated for catchiness, Gaga's voice is so big and personable that a sense of humanity remains intact" and concluded that "Stupid Love" is "light, sweet, and orderly." Kornhaber also praised BloodPop and Tchami's keyboard work and mixing of the song, mentioning the microseconds before the drop of the final chorus, calling it a "fake-out that tricks the ear every time, as superfans who’ve been giddily listening to the song since it leaked in January can attest." Stephen Daw from Billboard thought that the song "offers spine- tingling pop euphoria," and highlighted the "unbridled joy in Gaga's voice." For Slant Magazine, Alexa Camp was more critical of the track, describing it as a "catchy but uninventive slice of electro-pop" and compared its bassline to "Do What U Want.
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" Britain's Monthly Film Bulletin praised Jane Russell for her "enjoyable Dorothy, full of gusto and good nature," but thought that the film had been compromised from the play "by the casting of Marilyn Monroe, by the abandonment of the 20s period and the incongruous up-to-date streamlining, by inflating some bright, witty songs into lavish production numbers, and by tamely ending the whole thing by letting two true loves conventionally come true. There is too, a lack of grasp in Howard Hawks' handling, which is scrappy and uninventive." On review aggregation website Rotten Tomatoes, the film has an approval rating of 98% based on 41 reviews, with an average rating of 7.8/10. The site's critical consensus reads, "Anchored by Marilyn Monroe and Jane Russell's sparkling magnetism, Gentlemen Prefer Blondes is a delightfully entertaining 1950s musical.
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