206 Sentences With "unmemorable" | Random Sentence Generator

So why have most of his films seemed so unmemorable?

Like most of this movie, their worst crimes is being unmemorable.

That made for a dull show, but not a wholly unmemorable one.

Moments like these brighten a movie that's otherwise dull and sadly unmemorable.

Many sequels are wholly unnecessary, so unmemorable that you forgot they even existed.

Trebbiano is a ubiquitous white grape in Italy, and generally makes unmemorable wine.

On the whole it was largely unmemorable, which you might consider a good thing.

When done poorly, these movies are at best unmemorable and at worst, a disaster.

And if I was so unmemorable in a small group of people, then why now?

If nothing else, this unmemorable evening let her demonstrate her endless capacity to muddle through.

And there are even a couple of amusing, albeit unmemorable, sight gags and one-liners.

Where I once saw a cynical guy who believed that what middle America wants is a bunch of bland, unmemorable crime procedurals, I now see a guy who thinks he can use bland, unmemorable crime procedurals to trick middle America into watching more ambitious fare.

Some of Weegee's greatest pictures are all but lost in the profusion of unmemorable everyday mayhem.

An unmemorable debate performance Wednesday night in Atlanta seems unlikely to advance Ms. Warren's cause much.

Even unmemorable debates generally monopolize the nation's political attention for at least a couple of hours.

Most dreams, in fact, seem totally unmemorable—at least in the sense that we can't remember them.

They're so unmemorable that the experience of sitting through them had simply flown out of their heads.

Much of the time, they are reduced to rhythmic components, serving up unmemorable lyrics at quick tempos.

Personally, I thought the breadsticks at Saint Olive's Garden were the most unmemorable part of my meal.

CBS All Access, for instance, is rebooting "The Twilight Zone," which has already had two unmemorable relaunches.

The songs are unmemorable and the choreography less than twinkle-toed, but the lyrics are a delight.

Not all of them used that time — Tom Steyer managed to be cripplingly dull and utterly unmemorable.

It's a shame, then, that "What Belongs to You" is burdened with such a vague and unmemorable title.

This timeline makes Sessions's defense — that it was a garden-variety, unmemorable meeting — a little hard to accept.

Gina has resigned herself to getting by playing unmemorable television roles and having unsatisfying flings with her co-stars.

Whisper Supremacy was solid, but didn't have the same magic, while And Then You'll Beg was competent but unmemorable.

John Kasich: Didn't do anything wrong but was unmemorable at a time when it's make or break for him.

It's a good idea to skip staples like mapo tofu and kung-pao chicken—they are serviceable if unmemorable.

Overall, though, it was an unmemorable night for Cruz — not good enough in his hometown with Super Tuesday looming.

These contacts were apparently so unmemorable that many Trump advisers forgot all about them, even when asked under oath.

While the beef was incredibly tender, I found the vinegar to be overpowering and the bread to be relatively unmemorable.

For a second, I wondered what this unmemorable HR personnel man would do if I asked him to piggyback me out.

And for months, it seemed like this was the final chapter of an unmemorable scam two B-list celebrities were duped into endorsing.

It's familiar, which is no sin, but it's unmemorable, which, amid a TV glut that Apple is now adding to, is no asset.

And, yes, those super spies are largely unmemorable, compared with the government functionaries dealing death from afar while holed up in Washington bunkers.

On night one, however, Helene put her best foot forward in a black one-shoulder gown that was both classy and classic, if unmemorable.

In comparison to his later works, Melehi's paintings from the early 1960s are cold, slightly unmemorable, abstract works in black, white, yellow, and maroon.

Travelers are sometimes forced into the $500 range for an ordinary room at an unmemorable property — and that doesn't even include the resort fee.

The director Oliver Parker treats the world outside the pool as drab, gray and unmemorable, but shows promising signs of life in the water.

Some of his fans like to draw him engaging in autofellatio (NSFW by the way, obviously), others tweet about unmemorable Matt Damon vehicle The Informant!

As such, the night was full of bland, unmemorable speeches, outside of Taraji P. Henson (TV's best drama series actress) demanding nobody play her off.

Unlike the unmemorable and boring-looking Pixel 2 phones, the Pixelbook has a sleek design that invites intrigue in the same way a MacBook does.

Fox ended its time running the X-Men property (which will now go to Marvel Studios since Disney bought Fox) with a very unmemorable coda.

Though the 2018 MTV Video Music Awards weren't completely devoid of spectacle, the ceremony ended up being a mix of the baffling and the unmemorable.

The old gaffer had run a poor campaign, raised little money, assembled a lackluster organization, turned in poor debate performances and staged unmemorable campaign events.

But Warren's transfer of Senate funds to her presidential campaign was unmemorable, and widely known, while the "wine cave" was begging to be Googled; Sen.

While the seat was comfortable and had good amenities, the lack of service due to the late hour of the flight made for an unmemorable flight.

Accomplished though she is, Ms Harris's Senate career has been brief and unmemorable, aside from a few tough exchanges with administration officials in the Judiciary Committee.

On Monday, for example, Clinton appeared on the Today Show for what should've been a completely unmemorable interview about his upcoming novel, The President Is Missing.

Ryan calls it "providence" and still can't believe that he met the parents of his future child on what was supposed to be an unmemorable call.

Diaz-Canel has been careful not to eclipse Raul Castro and is so cautious as to come off as dull and gray, his public statements largely unmemorable.

And around those deep states of flow are a lot of unmemorable spaces, and much of the same cruft that bogs down a lot of other shooters.

He's won three bouts on the trot in the UFC, one by kicking his man in the head, but most of his appearances are competitive and unmemorable.

Shopping is time-consuming and stressful, so it's no wonder many of us often default to buying generic, unmemorable gifts just to get the whole process over with.

At Decatur, to be "Life of the Party" (which is the instantly forgettable title of this almost equally unmemorable campus comedy) is to clear a pretty low bar.

The defense Sessions's allies are putting out is that these were all brief and unmemorable interactions, during which nothing of substance occurred, that took place during a hectic campaign.

While such spots and the unmemorable single-story buildings that once housed them could not claim any historic significance, they were popular haunts that gave the area its character.

In high-stakes settings, Ms. Warren has made no major mistakes, turning in another solid if unmemorable debate performance last week while competitors claimed more attention and speaking time.

"A baroque blend of gibberish, mysticism and melodrama, the film seems engineered to be as unmemorable as possible," he writes in his review, which is a joy to read.

Aside from a surprising Best Original Screenplay award for Jordan Peele, Sufjan Stevens's fleeting, killer performance, and James Ivory's incredible Timothée Chalamet shirt, this year's Academy Awards were pretty unmemorable.

As awards-show season kicks into high gear, it's time for another season of pretty starlets in pretty, unmemorable gowns and actors in a string of identical, improperly tailored tuxedos.

Otherworldly Since the age of 16, the beautiful, half-Sudanese Briton Hope Arden has been literally unmemorable: Within a minute or two out of her presence, other people forget she exists.

In the suburbs, trees play an outsize role, offering not just shade and beauty, but sometimes the richest character on a block, particularly one like mine with mostly smaller, unmemorable homes.

The choreography is balletic and skillful but unmemorable, even in a final section that has Nureyev as a tormented Pierrot Lunaire (one of his favorite roles), aware that he is dying.

Not only is this scene entirely unmemorable and derivative, even for those who loved Solo, it's out of character for a movie that otherwise doesn't lean on CGI-generated monsters at all.

I watched Austin play a few minutes at PAX East and found it unmemorable, but those places are hardly the way to wrap your head around games like this, so we'll see.

Richardson, the son of Liam Neeson and Natasha Richardson, makes an unmemorable New York stage debut, though in key scenes Bengtsson, Kendall and Monahon, in particular, get to show off their stage smarts.

Venture capitalists and founders are often approached by hyper-aggressive service providers who are looking to earn a cut of Silicon Valley's winnings, and some people said that made Latka's particular hijinks unmemorable.

The film ends with an embarrassing bland montage of the couple's cute moments together, which shows those cute moments to be every bit as insubstantial and unmemorable as they looked the first time around.

There are a few songs on Thank You — the bluesy "Hopeless Romantic," the Jason Mraz-level ditty "Just a Friend to You" — that'd scan as completely unmemorable sung without her knack for vocal arrangement.

One is dominated by Gellert Grindelwald (a perfectly unmemorable Johnny Depp), an evil wizard who looks like he's been dipped in flour (and who last appeared in the more flattering form of Colin Farrell).

But aside from some sharp points about how workers are expected to "deny their biology" and "how little American businesses and legislators care about care," the analysis in "Squeezed" is thin and altogether unmemorable.

Google has essentially tacked on a paid service to its already popular streaming platform, and despite signing some big stars who are already popular on the platform to deals, the Google-funded programming is unmemorable.

He's just as interested in listing all the instruments McCartney played on his unmemorable 1993 solo album "Off the Ground" as in the details of the post-divorce P.R. strategy of Paul's second wife, Heather Mills.

One night, the single steak of the day—an unmarbled and unmemorable "bachelor" cut (also known as a "clod") from the shoulder, seared simply—was overpowered by its side of oily roasted beets and wilted greens.

A baroque blend of gibberish, mysticism and melodrama, the film seems engineered to be as unmemorable as possible, with the exception of the prosthetic teeth worn by the lead actor, Rami Malek, who plays Freddie Mercury, Queen's lead singer.

What I admire is talking about the weather in a way that makes it something other than a miserable and tedious experience, a mere overwriting of what would otherwise be an unmemorable interaction or, worse, a prolonged, awkward silence.

Worst Song: "Turning Turtle" The movie and Meryl Streep try, but they just can't recreate enough of the goofy charm of Ed Wynn and "I Love to Laugh" to save "Turning Turtle" from becoming unmemorable even as you're watching it.

Noodles (sen) are trumpeted in the restaurant's name and logo, but they're mostly unmemorable on the plate, like bean-thread noodles in an oversweet "suki" (short for sukiyaki) sauce and a pork blood noodle soup somehow missing its urgent mineral tang.

Asking random people a question on the street isn't always a great place to get solid information, as Jay Leno taught us so many years ago, but it illustrates a solid point: Marvel's music is unmemorable, which is notable, considering its ubiquity.

Buffy desperately wants to go on a date with an unmemorable boy (he reads poetry, so he's deep), but first she has to cancel to handle a prophecy, and then she has to take him to the morgue for a little unscheduled slayage.

Just about every player in the movie seems adrift: Returning supporting cast members like Nicholas Hoult and Rose Byrne have almost nothing to do except deliver snippets of exposition, and the slew of new heroes are unmemorable at best, grating at worst.

The show is frustrating, though, because for all the lovely vocal harmonies of the prisoners, and for all the sweet sounds of their string instruments (cello, fiddle, bass, banjo, guitar), the songs are largely unmemorable, the lyrics and dialogue larded with clichés.

Ali G and Shaggy's infectious but ultimately terrible song "Me Julie"—featuring the unmemorable line "It ain't crap to have a 12-inch"—managed to get all the way to No 2 in the UK charts when it was released in 2002.

From what I could see, weddings were compulsory and weddings were work: After months of planning — mostly on the bride's side — there was a resulting unmemorable party with a dinner of chicken or beef and the option of getting down to the Electric Slide.

The daughter of a Yoruban economics lecturer and an English nurse, Helen would spend much of her childhood on the fringes of the Essex coast—a distinctly unmemorable part of the country, an indistinct but sprawling patch of shingle, sand, and net-curtained caravans.

"The first time I spent real time with my father on a set, on an unmemorable horror film called 'The New Kids,' I watched them lay tracks for the camera to dolly on—and then I later saw the dailies of that scene," he recalled.

Several restaurants are clustered around West 125th Street and Malcolm X Boulevard (still called Lenox Avenue by hard-core Harlemites), and still the beating heart of Harlem, with one outlier on a corner of St. Nicholas Avenue that once hosted an unmemorable Chinese restaurant.

It was a largely unmemorable return to Arizona for shortstop Didi Gregorius, who booted one grounder and was spared two errors, one on a deft scoop by first baseman Mark Teixeira and another by the official scorer when he missed the bag on a force play.

Add it up, and the stage was set for a meek and unmemorable end of the state's annual legislative session, as state lawmakers finished their required time in the Capitol and headed for the hustings, where a restive and riled up electorate likely waits in November.

Though The Bachelor tries to sell every season as "the most dramatic yet," that just hasn't been the case this year: everything from the obvious producer-influenced drama to the less-than-glamorous date locations has Peter's season shaping up to be a pretty unmemorable one.

So while I'll remember for a long time the image of Jazz jury-rigging a hammock to hold her under one of the anorthite harvesters while she sets about breaking it down, the rest of the book is so vague and unmemorable that all I can say about it, really, is that it was fine.

The Republican establishment's fondest hope before Saturday night's debate was that Marco Rubio would deliver yet another solid (if unmemorable) debate performance, and that Donald Trump would fall on his face—compounding the damage he suffered in Iowa, and surrendering more, if not all, of his lead in New Hampshire over to Rubio, who's in second place and climbing.

We can trace the descent of "dreamscape" businesses from Chanel, to Ralph Lauren (Bronx-born Ralph Lifshitz, peddling a dream world of polo-playing WASP privilege), through Tory Burch, directly to Ms. Trump, whose brand, which she announced this week was shutting down, employs both her full signature and an initial insignia, although her logo feels rather unmemorable.

Sometimes we see him as other hotel guests would have seen him: as the tall gambler intent on the video poker machine across the casino floor, or as the customer standing in line in front of you at the gift shop, buying snacks, or as the guy you briefly glance at as he waits for you to get off the elevator — polite, unhurried, unmemorable.

Hector particularly blames the "uninspired" instrumental break. Hector also criticizes the lyrics as being "unmemorable" but does note their playfulness and self-referential aspect. According to Appleford, "the winding, grinding groove never quite falls into focus" and finds the riff unmemorable. For Robert Christgau, however, it was the best song on the album.

Gus Kusevic has astounding mutant powers, but cannot have any effect on the world, because one of his powers is being superhumanly unmemorable.

Published April 22, 2009. Entertainment Weekly criticized it as "unmemorable". The group has covered The Beatles, The Who, The Rolling Stones, The Turtles, and Mott the Hoople in its unique style.

Noel Murray of The A.V. Club gave the episode a B+, noting that it was "way too rushed". Michelle Zoromski of IGN rated it 7/10, summarizing that it was "bland" and "unmemorable".

Jeremy Nicholas's comments in his 2011 Gramaphone magazine review echo those of Liang, Passarella and France, stating that the work was well worth reviving. Andrew Clements, in his 2011 review in The Guardian considered the work unmemorable however.

Franich faulted Timberlake for playing too safe with his performance. Similarly, Fran Guan of Vulture.com wrote, "Technically speaking, Timberlake’s set was a testament to precision". Guan, however, criticized Timberlake's performance from lacking in personality, and regarded his performance as unmemorable.

Leyland, Matthew. Scorched, BBC Online, December 7, 2005. Accessed December 11, 2008. Sean Axmaker of the Seattle Post-Intelligencer called the film "amusing but tepid", called the script "lazy" and ultimately concluded that, with only "vaguely likable characters", Scorched is "aggressively amiable and utterly unmemorable".

In a mostly negative review, Variety called it one- dimensional and unmemorable, though predicted healthy sales on home video. On the other hand, Fangoria praised the film highly, calling it "an extremely impressive debut", with a final rating of 3 out of 4 stars.

Writing for Smash Hits in 1980, Red Starr described The Blue Meaning as "gutless exhibitionism set to unmemorable rock music". He said the lyrics were "a mess of meaningless garbled imagery, all mysticism and supernatural hallucinations". The album reached number 40 on the UK Albums Chart.

On the other hand, Carlos Ross of THEM Anime Reviews dubbed it "an unmemorable OAV"; he wrote, "Judge should have been an interesting, if strange trip through a suspenseful world of intrigue. Instead, it is a mostly incoherent mash of the creepy, with a jumbled plot and unconvincing acting".

On a slightly less positive note, Marcus Blackwell of HipHopDX said that BlocBoy's charisma "carried" the mixtape, but that he had "limited mic skills". In a mixed review, Andre Gee of Uproxx said that although BlocBoy "showed that he has considerable room for growth", but called the mixtape "unmemorable".

Mike Wass of Idolator commended "Something About the Night" as part of "a batch of killer soul anthems", alongside "Maybe I Should Call". In a mixed review, PopMatters' Devone Jones responded positively to the use of nostalgia in the song but criticized its production and chorus as unmemorable.

Lai Swee Wei of Cinema Online gave the film 2.5/5. Lai praised it for providing "good reminiscence of the TV series" and its catch phrases, but criticised the "weak wordplay and slapstick which seemed aimed at younger audiences", the "lengthy storyline" with "unnecessary supporting character subplots" and the unmemorable ending.

UEFA Champions League 1966/67 – History – CSKA Sofia UEFA.com Retrieved 22 December 2011. The next two seasons were unmemorable for the Army Men, as they finished in fifth and second place respectively. In 1968, CSKA underwent another merger, joining with Septemvri Sofia and taking the name CSKA Septemvriysko Zname ("CSKA September Flag").

A New York Times reviewer wrote that Wheeldon was "clever in capturing idealized Paris street life" though "the dance never quite coheres." Another New York Times reviewer wrote that the scenes were unmemorable but "well crafted that the overall result is amiable entertainment." Wheeldon later claimed he "never felt entirely happy" with the ballet.

The reviewer ended up giving the album a rating of 2.5 out of 5. Angry Metal Guy, despite acknowledging the "rich sense of depth" of the album, felt that most of the tracks "dwell in the realm of soppy, unmemorable post- rock that’s about as exciting as waiting to get picked up at the airport".

The Grinning Man received mostly positive reviews, with The Guardian calling it "a fabulously theatrical conceit" and giving it four out of five stars, and The Stage calling it "unusual yet enticing". However, the Evening Standard gave it two out of five stars, citing the "dismayingly unclear" narrative and "largely unmemorable" music and singing.

The film critics aggregator Rotten Tomatoes gave the film an approval rating of 27% based on 17 reviews and an average rating of 5.3/10, calling it:"A competent but unmemorable B-movie that eschews any real political content in favor of simple, brutal survival melodrama with scant room for surprises in plot, character or directorial style".

In a review for the Atom Heart Mother album, Alec Dubro of Rolling Stone gave "Fat Old Sun" a negative review, calling the song "English folk at its deadly worst. It's soft and silly." Dubro said the same for "If". In another review for Atom Heart Mother, Irving Tan of Sputnik Music described "Fat Old Sun" as unmemorable.

"'Retreat to Move Forward' had some amusing moments, but it's a bit unmemorable in retrospect. I'm still waiting for a true classic 30 Rock episode this season", said Jeremy Medina for Paste magazine. Nonetheless, Medina preferred this episode over The Office's "Prince Family Paper", in which its plot focused on whether actress Hilary Swank was attractive or not.

Time Out film guide notes "Despite good performances and fine camerawork from Burnett Guffey, Rossen's first film as director is a disappointingly flat thriller...Since they remain totally unmemorable (through no fault of the actors concerned), the subsequent action tends to become little more than a sequence of events mechanically strung together."Time Out. Film review, 2006. Last accessed: January 20, 2008.

Their song "When You're Loved" was nominated for an Academy Award for "Best Original Song" and was sung by Debby Boone. It is also the only musical film featuring Lassie. Released in the wake of Star Wars, the film was critically panned as old- fashioned, and flopped at the box office. Critics expressed dismay at Stewart singing unmemorable songs as the grandfather.

After its release, "It's About That Walk" received mixed to positive reviews from music critics. Mark Zeltner of PopMatters declared it the "best of the lot" on The Vault: Old Friends 4 Sale, favorably comparing it to the works of James Brown and Smokey Robinson. In a highly mixed review, a critic of NME called the single "agreeable" but "unmemorable".

Allmusic awarded the album 3½ stars stating "Desmond, of course, being at that time the king of melodic improvisation on the altowith the possible exception of Art Pepper's ascendancyis in fine form. His whimsical, breathy, dry tone is sharp, on the spot, and full of ideas as he quotes from a vast number of tunes. This is a thoroughly enjoyable and relaxed set if ultimately unmemorable".

Although she was unable to promote her version, which prompted Disney to release "Evermore" as a single instead, the song has made an impact in certain countries due to the film's success at the box office. It was met with generally positive reviews from critics. However, some felt that the song is unmemorable and compared it negatively to other songs recorded by Dion for movie soundtracks.

An adult contemporary pop ballad, the single contains lyrics discussing mutual love in a relationship and dismissing fears of abandonment. The song divided music critics, with some calling it sweet and "feel-good", but others describing it as mediocre and unmemorable. In 2014, Streisand featured "I Won't Be the One to Let Go" as a bonus track on the deluxe edition of her 34th studio album, Partners.

In Sight & Sound otherwise critical review of the film, Tim Hayes wrote, "Apart from Ben Mendelsohn's weaselly Orson Krennic ... and perhaps Donnie Yen as a blind samurai ... the faces are unmemorable and the characters unexceptional". Joshua Starnes wrote that Krennic's failures against the Rebels and pursuit of praise do not make him "a particularly sinister or effective villain", and the film "continually weakens him as a threatening presence".

Michael Sudhalter of Country Standard Time also described the song negatively in his review of the album and questioned the decision to re-record it: "One wonders why a song with such an unmemorable melody and cheesy double entendres made it on to one album, let alone two." In 2017, Billboard contributor Chuck Dauphin put "Eight Second Ride" at number six on his top 10 list of Owen's songs.

Album of the Year collected two reviews and calculated an average of 59 out of 100. Writing for AllMusic, Stephen Thomas Erlewine praised Mumba's vocals for sounding "richer" than other teen pop artists, stating that Gotta Tell You is soulful and well- constructed. However, he stated that the album contained several unmemorable songs. Laura Morgan of Entertainment Weekly considered Mumba to be the Irish equivalent of Christina Aguilera and Britney Spears.

Originally recorded in September 1993, the song remained unreleased for six years until the announcement of The Vault: Old Friends 4 Sale. "It's About That Walk" received mixed to positive reviews from music critics, who enjoyed the track's production, but found it to be "unmemorable". The German CD single was issued via Warner Bros. Records, including only the album version of the track; this marked Prince's final collaboration with Warner.

15 E.F. Bleiler describes Wright as "an excellent editor who recognized quality work" in his book The Guide to Supernatural Fiction. Bleiler, p.369. Wright also published half a dozen pieces of his own fiction, but his stories are considered unmemorable. His poetry (all published as by "Francis Hard", a pseudonym also used on several of the stories)Summary Bibliography: Farnsworth Wright is considered more delicate, but he limited its appearance.

Stylus Magazines Josh Love felt that it benefits greatly from Fiasco's impressive rapping and subtlety, which he found to be characteristics that are "incredibly rare in hip-hop in 2006". Sean Fennessey of Pitchfork was less enthusiastic and said that although Fiasco's raps are abundant with "wit and double meaning", the album's biggest flaw is his inability to write memorable hooks, which are instead "blandly-sung, unmemorable couplets".

Chris of Square Enix Music Online termed it "a decent effort" and a "coherent and thorough work". He especially praised the contributions of Sekito and Ito, though he was termed the tracks from Kawakami and Tanioka "unmemorable". He concluded that while there were no poor tracks on the album, several of the themes were "limited thematically and emotionally" and he could not recommend the soundtrack to a wide audience.

Marina was inspired by the Me Too movement and the Harvey Weinstein sexual abuse cases when writing the song, although she was not initially aware of the inspiration. It is a pop song with a tropical beat, which lyrically describes a woman confronting a man who insists he will receive his karma. "Karma" received mixed reviews from music critics. Some felt the song recalled Marina's earlier works, while other critics found it unmemorable.

The second scarcest is Fruits of Solitude, which may have been easy to lose because it had the fewest pages. The difficulty of finding the volume Memorable Speeches led one family member to joke that the speeches were so unmemorable that everyone threw them out. The Chicago publisher Reilly & Britton, a Chicago publisher, was given rights to reissue some of the earliest titles as “The Patriotic Classics.” By 2015, the series included 113 volumes.

Both films would become quotable cultural phenomena. A general audience trend towards action films starring the likes of Bruce Willis and Arnold Schwarzenegger was also considered to work against the commercial success of The Shawshank Redemption. Freeman blamed the title, saying it was unmemorable, while Robbins recalled fans asking: "What was that Shinkshonk Reduction thing?". Several alternative titles had been posited before the release due to concerns that it was not a marketable title.

More consensual was that Esuno's monsters were better drawn his human characters. For example, Zoth praised backgrounds and monsters but called human designs "generic and unmemorable" and that "looks to be a half-finished state." Henderson said, "It's fairly average in the portrayal of the humans, but the monsters are ... creepy and sometimes downright disturbing". Santos commended Esuno's "striking supernatural imagery" as exemplified by how "classic creatures ... take on new levels of terrifying".

The song garnered a mixed reception from music critics. Some considered it a stand-out track on the parent album while others found it to be unmemorable and "over- the-top". An accompanying music video was filmed in New York City and premiered simultaneously with the single's release. It was directed by Duncan Winecoff and features Oh Land as a piano player working for a ballet studio instructor, portrayed by Helena Christensen.

" The film currently holds a rating of 6.2/10 and 46% on Rotten Tomatoes. The site's consensus states: "Smarter than the average teen movie, but a little on the unmemorable side." It garnered a better reception abroad than domestically. Matthew Turner of ViewLondon states that, "though there are no real belly laughs or any Farrelly-like set pieces, this is still a better than average comedy, thanks to its witty script and its amusing collection of characters.

In 2009 Whisky Galore! was adapted for the stage as a musical; under the direction of Ken Alexander, it was performed at the Pitlochry Festival Theatre. In June 2016 a remake of the film was premiered at the Edinburgh International Film Festival; Eddie Izzard played Waggett and Gregor Fisher took the role of Macroon. The critic Guy Lodge, writing for Variety, thought it an "innocuous, unmemorable remake" and that there was "little reason for it to exist".

" Allmusic staff writer William Ruhlmann gave the album three out of five stars, saying that "Mirror Ball is typically uneven." Critic Robert Christgau said that Young "was born to lumber, and Pearl Jam wasn't." Blender gave the album two out of five stars. The review said that "it could have been better. The fault is less with Pearl Jam, who thrash so awkwardly they make Crazy Horse sound like Steely Dan, than with Young’s unmemorable songs.

Not lifeless, though; anything sung by Coyne will have roughness > around the edges (and his voice here sometimes sounds not just raw, but > downright worn). And songs about folks who carry guns, knives, and smash the > faces of their wives (in "Turpentine") are not your usual rock fare. The > words are unconventional, but the settings are average in a mid-'70s way, > which dilutes the lyrics' impact, and makes this an unmemorable effort on > the whole.

By virtue of the release of Keenan McCardell and an injury to Eric Parker, Jackson entered the 2007 season as a starting wide receiver for the Chargers. He started the season in an unmemorable fashion in a home game against the Chicago Bears by dropping a sure touchdown that bounced off his chest in the end zone. However, by the end of the season, Jackson had distinguished himself as a top target for Chargers quarterback Philip Rivers.

This all leads to the mixtape being unmemorable in an artistic manner. When viewing the information of each track via iTunes, the artist field is not filled in, and the mixtape was released on SoundCloud under the user703918785 moniker, which is similar to spambot usernames. All of these compositional and release aspects of the mixtape, according to The Quietus reviewer Alexander Iadarola, makes it symbolically disposable and something that should not ever be touched.Iadarola, Alexander (July 10, 2014).

Florentine painting, if not portraiture, often was intellectual, academic, and focused on allegory, mythology, or religious themes. Genre topics and still life studies were rare for the high-minded Florentines. In addition, nearly all Italian painting until that time depicted indoor settings or included urban landscapes, and if not, the landscape was unmemorable sfumato dissipating in the distance. The summer season evoked by the fruit and the reposing figures in the fresco is powerful as well as soothing.

Mohit Kishore Thadani (born 2 July 1991) is a Rajasthani cricketer.Mohit Kishore Thadani @ cricketarchiveMohit Thadani @ espncricinfo He plays for Gujarat and made his debut in First-class cricket on 20 January 2017 against Rest of India in 2016–17 Irani Cup. His most memorable performance was in punjab and from there he got a nick name Mohit Bansal Chandigarh. Although he played only one first class match in India but his contribution for district cricket is unmemorable.

Following the release of the album, BlackHawk was honored as the "CMT Showcase Artist" for August 1997. Reviews of the album were mixed. Allmusic gave the band a generally favorable review, remarking that the album's "best moments demonstrate that BlackHawk is more talented and diverse than their previous two albums would suggest", however the review also labeled, without specifying, that certain songs were "simply unmemorable." Overall, the website gave the album three stars out of a possible five.

In 1985 McCarthy was joint coach of the Cork senior team alongside Johnny Clifford. That year Cork claimed the Munster title following a 1–13 to 1–8 defeat of Tipperary before later facing Wexford in the All-Ireland decider on 1 September 1985. A fairly unmemorable game resulted in a 3–9 to 0–12 victory for Cork. Three years later McCarthy took over as coach of the Cork senior team following the sudden resignation of Johnny Clifford due to ill health.

Upon release, Under Suspicion was met with lukewarm reception; CNN's Paul Tatara praised the actors but thought the film was "too tawdry to be completely entertaining, and too static to generate much excitement." In 2001, Freeman starred in Along Came a Spider, a sequel to 1997's Kiss the Girls. Reprising his role as Alex Cross, the film received mixed-to-negative reviews. Susan Wloszczyna of USA Today observed that "Freeman strides with noble authority" but thought the overall film was unmemorable.

Variety states that while the 1980s-set film was "[a]iming for pop-culture nostalgia", its "period detail...[and] the Korea-shot fantasy sequences" face challenges from the production's "budgetary limits." As well, the review states that "writer- director Lim’s characters and their dynamics aren’t developed enough to fully engage, unlike those in his playful prior" film, the 2006 feature The Achievers. Overall it was called "watchable but unmemorable" and "too often humorless, with some ponderous dialogue and not enough character depth".

Faylen became a stage actor at 18 and eventually began working in films in the 1930s. He began playing a number of unmemorable bit parts for Warner Bros., then freelanced for other studios in gradually larger character roles. He appeared as Walt Disney's musical conductor in The Reluctant Dragon, and as a stern railroad official in the Laurel and Hardy comedy A-Haunting We Will Go. Faylen and Laurel and Hardy supporting player Charlie Hall were teamed briefly by Monogram Pictures.

Despite its short run, it was broadcast on the Big Three television networks years after its original run as the channels had purchased syndication rights. It was speculated that the series acquired a fan base due to its frequent rotation on American television, often replacing quickly-cancelled new cartoons. Critical response to Speed Buggy was generally positive; some critics enjoyed its shared themes with Josie & the Pussycats and Scooby-Doo, Where Are You!, while others found it unmemorable and overly repetitive.

Cresti was born in Passignano, currently a frazione of Tavarnelle Val di Pesa about 30 km south of Florence, and was educated by the local Vallombrosan monks. He started his works in the stylized Tuscan manner, working with Giovanni Battista Naldini and Girolamo Macchietti. After travelling from Rome to Venice (1581–1589), he came under the influence of Tintoretto's style. He had traveled to Venice as an assistant to Federico Zuccari, who had employed him previously in the completion of Vasari's unmemorable frescoes for the Florentine Duomo.

Four episodes of approximately thirty minutes each. Episode 1: 1920s ("An Irresponsible Decade") And 1930s ("An Anxious Decade") :King George V utters some unmemorable last words; DH Lawrence of Arabia writes Lady Chatterbox's Llama; and John Yogi Bear discovers the BBC, run by Lord Funeral Wreath, but finds there's not much on. The nation first faced sex and didn't like what it saw. Episode 2: 1940s :The French Resistance triumph under General de Girl; Hitler gets stuck in a bunker; and John Humphrys interviews Churchill.

In a review for Rolling Stone, Gina Arnold praised She Hangs Brightly as being "coldly beautiful". AllMusic's Jason Ankeny described Hope Sandoval's vocals as "more sultry" than those of Opal's Kendra Smith and praised "Halah" and "Blue Flower" but criticized the album's lack of focus, calling the remaining tunes "unmemorable". Kurt Cobain of Nirvana listed She Hangs Brightly in his top fifty albums of all time. In 2018, Pitchfork ranked the album at number 29 on its list of the 30 best dream pop albums.

"Wild Honey Pie" is a song by the English rock band the Beatles from their 1968 double album The Beatles (also known as the "White Album"). It was written by Paul McCartney and credited to Lennon–McCartney. Less than a minute in length, the song mainly consists of the title being chanted repeatedly and was performed by McCartney without the participation of the other Beatles. The track is often viewed as a filler track and is generally regarded as inconsequential and unmemorable due to its experimental nature.

After the Stuttgart premiere the ballet critic of The Times rated the piece enjoyable but not wholly successful. He found the score unmemorable and the characters sketchy: "Solitary introverts are difficult to depict in dancing"."Cranko ballet on Eugene Onegin", The Times, 7 June 1965, p. 4 By 1974, when the Stuttgart company presented the piece at Covent Garden shortly after Cranko's death, the critic John Percival reassessed the work much more favourably, praising both the music and the narrative expertise of the choreography.

Yes, I suppose it does". Dan Jolin of Empire gave the film 3 stars out of 5, noting, "Stanton has built a fantastic world, but the action is unmemorable. Still, just about every sci-fi/fantasy/superhero adventure you ever loved is in here somewhere". Joe Neumaier of the New York Daily News gave the film 3 out of 5 stars, calling the film "undeniably silly, sprawling and easy to make fun of, [but] also playful, genuinely epic and absolutely comfortable being what it is.

After crossing the floor of the House to join the Whigs in 1827, Littleton voted for the Catholic Emancipation Bill that finally became law in 1829. From this point, the style and content of his contributions changed completely. For almost twenty years he had been content generally to make short contributions, usually delivering himself of his considered opinions or changed notions (for he sometimes altered his initial stance during debate) in the chamber of the house in a few unmemorable phrases. From 1830 he became closely involved in committee work on important reforms.

Otherwise, Quavo Huncho is enjoyable but unmemorable. It's not quite a Migos album, but it comes close enough to tide fans over until album number four." Paul Thompson of Pitchfork concluded that Quavo Huncho is "flat and nearly anonymous", consisting of "passable, professional songs that are barely moving and pale when compared to nearly any full-length Migos record." Thompson added that the album is "so ordinary, so uniquely uninspiring that it makes it difficult to imagine a solo work from Quavo that would truly grip our attention.

On the review aggregator Rotten Tomatoes the film holds an approval rating of 14% based on 111 reviews, with an average rating of 3.58/10. The website's critical consensus reads, "Though its visuals are unique, The Spirit's plot is almost incomprehensible, the dialogue is ludicrously mannered, and the characters are unmemorable." Metacritic gave it an aggregate score of 30 out of 100, based on 24 critics, indicating "generally negative reviews". Audiences polled by CinemaScore gave the film an average grade of "C–" on an A+ to F scale.

AllMusic reviewer Ken Chang stated "Wolf adamantly refuses to back down from his rivals, resulting in a flood of contentious studio banter that turns out to be more entertaining than the otherwise unmemorable music from this stylistic train wreck. Although Wolf and Waters duke it out in earnest on the blues standards, the presence of Diddley (and his rave-up repertoire) makes the prospect of an ensemble impossible; in the end, there are just too many clashing ingredients to make the mix digestible. ... At least it sounds like they had fun doing it".

As a whole, however, McCarter felt it was a fun series, particularly for fans of the occult and horror genres. Carlos Ross of THEM Anime Reviews agreed with McCarter about Terumi's character design being the cutest of the series rather than ugly, and the oddity of Susanoo being the good god in the series. However, Ross felt the series was unmemorable, plagued with writing inconsistencies, and bad animation. He also disliked the English dub, finding Lisa Ortiz's performance as Terumi to be "grating", the other voices forgettable and annoying for their mispronunciation of names.

The stories supplied by Sam Moskowitz included Moskowitz's own "The Way Back" (reprinted from Comet), which appeared in the February 1942 issue; Stanton Coblentz's novel After 12,000 Years, and James Taurasi's story "Magician of Space", which was not a reprint. Canadian writers continued to appear in the magazine, including C.V. Tench, who had sold a story to the very first issue of Astounding Stories in January 1930.Bleiler (1998), p. 429. The stories of Canadian origin were generally unmemorable, and in some cases the stories may have been plagiarized or rewritten versions of other works.

Feedback for the song was mixed, with music critics questioning its inclusion on A Collection: Greatest Hits...and More and calling it unmemorable. Commercially, it entered the record charts in four countries, including Canada, the Netherlands, the United Kingdom, and the United States. On the Adult Contemporary chart in the lattermost country, it became a top ten hit while in the Netherlands, it was her lowest-performing single in her entire career. An accompanying music video for the song was directed by Jim Shea and premiered on various television platforms in order to promote it.

After Wardell appeared on several podcasts, his work was noticed by Bob Odenkirk, who featured Wardell on his late 2014 live comedy album, Amateur Hour, in which Wardell is featured on the opening four tracks. While the album was well received, Wardell's performance received negative reviews, with many fans and critics questioning Wardell's presence on the album. One critic panned his performance, saying that Wardell starts the album off with a "thud" and "unmemorable bits". A writer for The A.V. Club found it "strange" that Wardell was included on the album.

" Evan Lucy of Billboard also wrote a favorable review, saying, "Although the new set may lack the wide-eyed naiveté that made the group's past efforts so endearing, the newfound maturity makes for a compelling set of songs." Big Cheese magazine awarded a maximum 5 star rating and Cathy Reay wrote, "Brand New Eyes is a huge milestone for an intelligent, honest young band that deserve far more mainstream recognition than they get." Alternative Press awarded the album 4.5/5 and Scott Heisel praised the improvement of the album over its predecessor; "Riot! was ridiculously top-loaded, with an unmemorable second half.

On Rotten Tomatoes the film finds an approval rating of 28% based on 29 reviews, with an average rating of 4.78/10. The site's critics consensus reads: "Its starry trio of do-gooders may promise to fight 'one for all, all for one,' but this Three Musketeers is a slickly unmemorable update bound to satisfy very few." At Metacritic, the film has a weighted average score of 43 out of 100, based on 24 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.

"Long Shot" is a song by American singer Kelly Clarkson, from her fourth studio album, All I Ever Wanted (2009). The song was written by Katy Perry, Glen Ballard, and Matt Thiessen, it was originally recorded by Perry (along with the single "I Do Not Hook Up") for an unreleased album and was later re- recorded by Clarkson. It is a pop song about taking a chance on pursuing a flawed relationship in spite of it being a "long shot." The song received mixed to positive reviews from critics, who found it to be a "fun" pop song but also generic and unmemorable.

The Giants' final three years in New York City were unmemorable. They stumbled to third place the year after their World Series win, and attendance fell off precipitously. While seeking a new stadium to replace the crumbling Polo Grounds, the Giants began to contemplate a move from New York, initially considering Metropolitan Stadium in Bloomington, Minnesota, which was home to their top farm team, the Minneapolis Millers. Under the rules of the time, the Giants' ownership of the Millers gave them priority rights to a major league team in the area (the Washington Senators wound up there as the Minnesota Twins in 1961).

Ryoo began 2004 in the TV series Sunlight Pours Down co-starring Song Hye-kyo and Jo Hyun-jae, but it proved unmemorable to audiences. Thereafter Ryoo would concentrate solely on film. In Ryoo Seung- wan's Arahan, he played a hapless traffic policeman who discovers he has untapped martial arts potential, as he's trained by masters played by Ahn Sung-ki and Yoon So-yi. Part modern-day wuxia, part superhero film and part local comedy, it was Ryoo Seung-wan's first foray into commercial cinema, and the film was a relative box office success at around 2 million tickets sold.

Foster made his first-class debut for Worcestershire in 1899, against Yorkshire in Worcestershire's first ever match at that level, though he had a personally unmemorable game in scoring 0 and 22. However, the season as a whole was a success for him: he made 1,041 runs in all, and topped Worcestershire's batting averages with 42.57. Against Hampshire, both he and his brother Tip scored a century in each innings; Wilfrid scored 140 and 172 not out, the former being his maiden first-class century, and the latter being his highest first-class score.Worcestershire v Hampshire, 1899. cricketarchive.

A revival of the Tony Hawk's franchise developed by Robomodo, Tony Hawk's Pro Skater 5 was panned for its poor quality, especially in comparison to its predecessors, with reviews citing various performance issues, environmental clipping, and physics issues. The game's environments were criticized for their poor aesthetics, unmemorable level themes, small size, dull challenge tasks, lack of NPCs, and for not containing as many hidden secrets as those in previous Tony Hawk games. Before the game was released, the licensing deal between Activision and Tony Hawk was set to expire. As a result, the game was hastily developed within a few months and released unfinished with little promotion.

In a critical article in Taliesin (1962) Kate Roberts criticises the weaknesses in his writing technique, finding his deathbed endings unrealistic and sentimental, and his extensive use of dialogue unnecessary. Moreover, despite the humorous treatment of his characters' eccentricities, she finds them passive in their role in his plots, and therefore unmemorable. By contrast E. Morgan Humphreys, in his introduction to the stories, praises his concise and disciplined prose, and his ability to reveal character within a few lines, and asserts his seminal role within the development of the Welsh short story. One of Hughes Williams's stories, 'Yr Hogyn Drwg', appeared in English translation by Dafydd Rowlands.

AllMusic's Steve Huey noted that much of the elements that made Sepultura "stand out from the metal pack" are still present on this record, and that this was one of Sepultura's strongest releases with Green on vocals. Alternative Press reviewer Phil Freeman stated that with this album, Sepultura are "finally back at full strength", giving the listener "exactly what he hopes to get from pioneers in the art of skull-crushing". In a mixed review for Stylus Magazine, Cosmo Lee said that the riffs were "unmemorable" and the songs lacked "tension and release". He also criticized the album's artwork, describing it as a "weak, mild-mannered font worthy of indie rock".

"What Have I Done to Deserve This?" marked Pet Shop Boys' first major collaboration with another recording artist. According to Neil Tennant, EMI—their record label Parlophone's parent company—did not want the duo to work with Springfield, instead suggesting Tina Turner or Barbra Streisand for the collaboration. Springfield's career had declined from its peak in the 1960s, with her last Top 40 entry on the UK Singles Chart being "How Can I Be Sure" in 1970. The Independents Adam Sweeting described the ensuing years for Springfield as "a litany of unmemorable albums, while her private life became a free-fall into drugs, alcohol and self-mutilation".

Some tracks, such as "The Drip Drip Drip of Memory", he called fairly weak and forgettable. Barker generally compared the music to that of Final Fantasy XII, recommending it for fans of the latter and finishing that the album was generally good despite some unmemorable pieces. Chris Greening of Video Game Music Online gave the album a 2.5-star rating out of five: he was most positive about the tracks from the guest composers like Ito and Shimomura. While he praised Sekito for moving away from his traditional musical style, he felt that the result was fairly mixed, with some tracks lacking the proper emotional drive and others "falling flat".

Variety said of Sydney Theatre Company's production "the women's roles especially are well-written and the numerous reworkings have ensured the story is tight and focused". Lauren's Theatre Reviews described Roo Theatre's production of the show as "certain very enjoyable for the most part" and "the script has its ups and down, but ultimately is full of charm and a wide variety of main characters", with praise going to the story's characterisation and mix of both drama and comedy. The music of the show received mixed reception, the review noting feeble songs in the playlist. It listed stand-out examples of the score and said that the rest are unmemorable.

When union rules were pushed beyond their limits, either Tedesco or Pitman would raise the issue of overtime—to the consternation of producers and the delight of other musicians. Their salty adherence to fair treatment led to Tedesco being called King Salt, and Pitman getting the nickname Junior Salt. As Pitman said in a 2002 interview, "if King Salt wouldn't say something, Junior Salt certainly would." Despite his contributions to chart-topping records by the Mamas & the Papas, the Everly Brothers, and Jan and Dean, Pitman found the rock music he was asked to play unmemorable; expressing genuine surprise when some of the tunes became wildly successful.

"History Lessons", according to Cosores, is one of the best songs Morris has ever written up to this point: a "spare, beautiful masterpiece". Sophie Weiner of Rolling Stone, also pointed to "History Lessons" as the highlight track of the album, and while she found the album "pleasant" overall, she felt it was too steeped in nostalgia, leaving it "unmemorable". In a review for AllMusic, Tim Sendra notes the vocals of guitarist Paul Rains on "Bright Eyes" and his overall contributions as a guitarist. Matthew Slaughter of Drowned in Sound also praised the guitar work of Paul Rains, particularly on tracks like "Heartbeat" and "Another Year".

K103-FM called the ballad a second act showstopper, writing, "You really feel [Holloway's] presence on the stage" throughout the song. In a less positive review, Susan Haubenstock of the Richmond Times-Dispatch dismissed "Shadowland" as one of the new songs that resemble "filler", accusing it of slowing down the pace of the production and causing "the action and the energy peter out in the second act." Similarly, Erin Gleeson of the Baltimore City Paper felt "Shadowland" was "unmemorable", writing that it "drag[s] down an otherwise lively and spirited production." Alan Morrison of the Herald Scotland found the song's use of synthesizers dated.

Blackhawk was one of the few Quality series that DC chose to keep running uninterrupted. Penciller Dick Dillin and inker Chuck Cuidera remained on the title, ensuring a near-seamless transition. The duo would stay with the title through nearly its entire first run at DC. Steering deeper and deeper into the realm of science fiction, the Blackhawks found themselves confronting a steady stream of unmemorable and mostly one-off supervillain-like adversaries bent on world domination. The Blackhawks also gained a new ally in Blackhawk #133 (February 1959): Lady Blackhawk, a pilot named Zinda Blake who was determined to become the first female member of the team.

Some critics felt as if the material was unmemorable versions of Boyz II Men songs, while others felt that Personal was highly different from the music at the time. The album only managed to chart in the United States, where it peaked at 14 on the Billboard Heatseekers Albums, 29 on the Billboard R&B; Albums and 186 on the Billboard Top 200. Two singles were released to promote the album: "House Keeper" and "Do Thangz". The former was a commercial success, peaking at number 13 on the U.S. Billboard Hot R&B;/Hip-Hop Singles & Tracks and at 67 on the U.S. Billboard Hot 100.

A staff member at Billboard acknowledged both "I Won't Be the One to Let Go" and album track "All I Know of Love" as the "two fine new efforts" on Duets, calling the former single a "sweet" collaboration. BBC Music's Morag Reavley enjoyed the single, calling it a "soaring, feel-good" track. However, William Ruhlmann from AllMusic was more critical of the song, describing it as just "mediocre". Tom Santopietro, author of The Importance of Being Barbra: The Brilliant, Tumultuous Career of Barbra Streisand, called "I Won't Be the One to Let Go" a "paltry [...] new song" and ultimately found it to be unmemorable.

All but one of the album's songs were written by group members. Allmusic's Bruce Eder views "Rescue Me" as one of the better tracks, showing the influence that the group members had had, like many others in the British R&B; scene, from playing in Zoot Money's Big Roll Band and the Cyril Davies All-Stars. Eder says that the band's songwriting is largely unmemorable, while Billboard magazine wrote in 1973 that the album "offers a strong mix of rock, ballads, and folky material, with strong vocals and instrumentals running throughout." In 1970, the St. Petersburg Times saw the group as "smooth" and the record worthy of inclusion in its "Unusual Albums" section.

" Also of New Release Tuesday, Dawn Teresa reflected that "upon repeated listening, these songs get under your skin", which the listener will "find the record is worth many listens." Shannon Zabroski of Oncourse told that "these two [are] back in full-album form," which this is because "they are a rare duo that brings a distinct flavor of worship in a sea of sound-alike groups." At The Phantom Tollbooth, Larry Stephan said that "it may have served the record better to pull back on the throttle in places." At Christianity Today, Joel Oliphint claimed that "the songwriting is so formulaic that the songs run together", which leads "to singable yet unmemorable, overdramatic refrains.

Reviews of Crucible of Terror are largely negative, albeit with the occasional positive comment. Film critic Kim Newman describes the movie as being 'part of the marginal cinema, where double-bill-fillers can be sold for either sex or violence' and 'where nothing else matters', noting that 'the girls are mostly pretty and disposable'. However, Newman goes on to write that 'these films, intentionally or not, manage to locate their horrors in a recognisable, seedy British setting, otherwise unexplored in the movies'. Smith calls Crucible of Terror 'unpleasant and unmemorable' while film historian Phil Hardy takes the opposite position, writing that it is a 'pleasantly eccentric variation on the house-of-wax theme'.

In a contemporary review, Variety described the telecast was "one of the most unmemorable in memory" and that "This year's telecast was doomed from the moment Sinead O'Connor, the artist behind the year's most compelling record, announced that she would boycott the show because the awards celebrate commercialism." The review critiqued the performers stating that Garth Brooks stage set up resembled a "Noël Coward play", Billy Idol changed a lyric of "Cradle of Love" to state "This song is so cheesy" and that MC Hammer appeared to be wrapped in aluminium foil. The review spoke positively about performance of En Vogue and Take 6 and the a cappella performance by Tracy Chapman.

He did highlight that Data acting out as Sherlock Holmes laid the foundation of future episodes which would expand on this. Zack Handlen reviewed the episode for The A.V. Club in April 2010. He too thought that the alien delegation subplot was poorly executed in a comedic fashion, and said that this "combined with the slow pace and a number of dialog scenes that can be charitably described as 'character development' (or more accurately as 'padding'), this is an unmemorable episode that shows a series still unsure of its greatest strengths." He gave the episode a grade of C-. The first home media release of "Lonely Among Us" was on VHS cassette, appearing on April 1, 1992 in the United States and Canada.

The number was also not as well received as many of the others: Bell described it as taking "a turn for the worse", Hyman noted that it "didn't do too much for me", and Kubicek said it "seemed to drag on and on and on with no real purpose". However, West called it a "wonderful effort" and Slezak wrote that "a little Rodgers and Hammerstein is always welcome at any party"; both reviewers gave the performance a "B+". Finn and Puck's rendition of "Santa Claus Is Coming to Town" was received tepidly. Votta referred to it as "mildly rocking", and Slezak and Chaney both gave it a "B−": the former said it was "fun" but "not deeply exciting" and the latter called it "competent" but "unmemorable".

Goergen found the sound designs to be unmemorable, saying that the music does not add much and that players would be likely to mute the game after hearing the "beeping" sound effect used for dialogue for too long. Meanwhile, Ponce and Petit liked it: Ponce called the score "masterful" and said that it "gets under your skin at the right moments", while Petit said that she appreciated the sound, which she called atmospheric and "[sending] shivers up your spine". She was unimpressed with the environments, but said that they were clear and easy to look at. She liked the character portraits, calling them expressive and, paired with the dialogue, enough to make the player not care about the lack of voice acting.

Vickie Gilmer and Ira Robbins of Trouser Press favored the "refreshing" effect of the songs, claiming that several songs were similar to the band's 1997 single "The Best Thing". In a more mixed review, Stephen M. Deusner of Pitchfork found the songs to be too unmemorable, claiming that "each song exists only when it's playing"; however, he appreciated the "aerodynamic" and "matureness" of the album. In Michael Mikesell's PopMatters review, he found the tracks to be comparable with the works of the Cardigans, Pizzicato Five, Cocteau Twins and Lush; Mikesell praised Schlesinger's bass playing, but favored the tracks produced by Chase and Schlesinger to Osborne's. Michael Pelusi of Prefix Magazine enjoyed In the Clear but found that Ivy could be "capable of so much more".

The match, despite the rivalry between the two teams, was a fairly unmemorable game, rarely sparking into life, with playmakers Eric Cantona and Steve McManaman, marked and closed out by Jamie Redknapp and John Barnes and Roy Keane and Nicky Butt respectively. Keane went on to stop virtually every attack the Liverpool midfield threw at Manchester United, and covering as commentator Peter Brackley described, "every blade of grass", to win the man of the match award. The game started with a frenetic pace and Manchester United started with several positive chances before Liverpool came back into the game, but chances at either end were limited. Neither goalkeeper, Peter Schmeichel for Manchester United and David James for Liverpool, was seriously tested throughout the majority of the game.

The hyphen-minus is a general-purpose character that attempts to fulfil several roles, and wherever optimal typography is desired, the formal hyphen, minus, or other symbol should be used instead. For example, compare (minus) and (hyphen-minus); in most fonts the hyphen-minus will not have the optimal width, thickness, or vertical position, whereas the minus character will. However, the Unicode hyphen is inconvenient to enter on most keyboards, so the hyphen-minus character remains very common. It is often used instead of dashes or minus signs in situations where the preferred characters are unavailable (such as ASCII-only text), where the preferred characters take effort to enter (via dialog boxes or multi-key, unmemorable keyboard shortcuts), or when the writer is unaware of the distinction.

In the decades following this collaboration, the over 100 tracks recorded at these sessions were at different stages obtained by collectors and released on bootlegs. The first batch of these leaked to the public beginning in the late 1960s; the second in 1986; the third, which included "Santa-Fe", in the early 1990s; and a fourth batch of Basement Tape tracks became public in 2014. The song was released officially on the Columbia album The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. It has been subject to mixed opinions by critics and biographers, with some praising it for its expressiveness, and others regarding it unmemorable, while criticizing its inclusion on The Bootleg Series at the expense of more worthy candidates.

He cites Matt Reeves' direction, the "whip-smart, stylistically invisible" script and the "nearly subconscious evocation of our current paranoid, terror-phobic times" as the keys to the film's success, saying that telling the story through the lens of one character's camera "works fantastically well". Michael Rechtshaffen of The Hollywood Reporter called it "chillingly effective", generally praising the effects and the film's "claustrophobic intensity". He said that though the characters "aren't particularly interesting or developed", there was "something refreshing about a monster movie that isn't filled with the usual suspects". Lisa Schwarzbaum of Entertainment Weekly said that the film was "surreptitiously subversive, [a] stylistically clever little gem", and that while the characters were "vapid, twenty-something nincompoops" and the acting "appropriately unmemorable", the decision to tell the story through amateur footage was "brilliant".

During his college days, he joined the film chamber and began watching world cinema, regularly attending annual film festivals. He gained inspiration from films including The Battle of Algiers (1966) and City of God (2002), stating they changed his thinking of cinema and revealed that they had a deep impact on him. Ranjith has been known to use symbolism in his movies to exhibit ongoing social problems which otherwise have trouble reaching the masses due to restrictions by Central Board of Film Certification in using actual references of caste based exploitation in movies. Ranjith joined the film industry as an assistant director and first worked on Shiva Shanmugam's Thagapansamy (2006), which he has since revealed as an "unmemorable stint", before moving on to apprentice under film makers N. Linguswamy and Venkat Prabhu.

Also from The Chicago Tribune, Dave Kehr reviewed the film as "a talky, plodding film that seems likely to bore children and adults in equal measure." Nevertheless, Kehr praised Val Strazovec's production design and John Fenner's cinematography believing its "shadowy, naturalistic lighting creates a new look for a puppet film", but derided Paul Williams's songs as unmemorable. Likewise, Variety praised the production design and criticized Williams's songs, writing Muppets Christmas Carol is "not as enchanting or amusing as the previous entries in the Muppet series. But nothing can really diminish the late Jim Henson's irresistibly appealing characters.” Giving the film three stars out of five, Almar Haflidason of the BBC wrote the film is "liberal but fun adaptation of a classic" that "turns out to be quite touching as Muppet movies go.

In addition to her jazzy favorites, "Dry Spell" and "Hit the Road Jack", she pointed to "Blame It On Me" and "Great Bright Morning" as the album's best tracks. Worrying that some might overlook "Great Bright Morning" because of its subtlety, she praised it as "heartfelt" and noted that its "warm acoustic work make[s] it worth going back to." "Blame It On Me" was called the "funkiest thing here" by Erlewine, and Lipp wrote that the song's "steady-rocking, propulsive pop" is a good fit for Abrams' style of singing. While opining that none of the songs are genuinely bad, she nonetheless pointed to "Midnight Girl", "A Boy Can Dream", and "Get Out" as the three weakest, calling the former two unmemorable and likening the latter to a Justin Bieber pop song.

It was, as Ken Chang wrote in his AllMusic review, flooded with "contentious studio banter [...] more entertaining than the otherwise unmemorable music from this stylistic train wreck". In 1968, at the instigation of Marshall Chess, he recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy Waters himself: Nonetheless, six months later he recorded a follow-up album, After the Rain, which had a similar sound and featured many of the same musicians. Later in 1969, he recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound.

A Billboard journalist deemed the track's title to be "wonderfully compelling" and went on to describe the song as an "anthemic grinder that musically tills familiar ground". The writer concluded the review, noting: "Lee's vocal is other-worldly and the song's overall impact is strong; however, there's really nothing new going on". A negative review came from Michael Endelman of Entertainment Weekly who gave the song a grading of C and wrote: "The sound of a woman scorned? Very mild, guessing from unmemorable kiss-off, 'Call Me When You're Sober'... Lee's latest pop- metal melodrama never lives up to the great title, as the melody hovers in a holding pattern." Andrew Blacki writing for PopMatters felt that the "'revenge song' 'Call Me When You’re Sober' reduces their dramatic image to a state of mope Kelly Clarkson breakup pop for mileage".

Species: Half-vampire (Red Court, deceased) Description: Member of the Fellowship of St. Giles Introduced in the book Death Masks, Martin first comes into contact with Dresden as the partner of Susan Rodriguez in the Fellowship of St. Giles. Described as being highly unmemorable in appearance and bland in character, he accompanies Susan back to Chicago with the aim of preventing Don Paolo Ortega from killing Dresden in a duel and taking out the vampire if possible in order to prolong the war between the Red Court and the White Council. While seemingly dismissive of Dresden, Martin nevertheless assists him against members of the Order of the Blackened Denarius, proving himself to be both highly skilled and extremely ruthless in the process. After the duel, he leaves Chicago with Susan, promising Harry that he'll take care of her.

Jessica Molinari of Bustle praised Gilman for his passionate delivery, which she wrote, "was palpable in every line he sang." She also wrote that the song was very "authentic," and that it "was completely him." Perri Blumberg of Rolling Stone wrote that the song "showed his versatility as both performer and songwriter." Carter Matt, writing for his eponymous entertainment blog, mirrored Molinari's sentiments regarding the song's "fit" with Gilman's persona and also noted "Because of Me" is "easily the catchiest of the four winners' singles," and "could... be an adult-contemporary hit" Reviewing Gilman's performance of the song on The Voice, which he graded a 'B', Michael Slezak of TVLine wrote that the song "painted Billy as a vocalist who might have some radio relevance with the right material," but also described the track as unmemorable.

Peter Brown of If regards "Lard of the Dance", "Marge Simpson in: "Screaming Yellow Honkers"", "Wild Barts Can't Be Broken", and "Homer Simpson in: "Kidney Trouble"" as "some of the best episodes of the season". The authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, Warren Martyn and Adrian Wood, wrote that the episode was "a curious unmemorable episode with a good chunk in the middle. Neither the opening with The Isotopes nor the finale with the rather dire song help this one at all, and frankly, if it wasn't for the superb parody of Village of the Damned, and the kids' revenge by revealing their family's secrets, it'd sink without trace." In 2007, Simon Crerar of The Times listed Lauper's performance as one of the thirty-three funniest cameos in the history of the show.

" For its 1987 re-release, animation historian Charles Solomon expressed criticism for its episodic plot, anachronisms, and borrowed plot elements from earlier Disney animated features, but nevertheless wrote "[b]ut even at their least original, the Disney artists provide better animation--and more entertainment--than the recent animated features hawking The Care Bears, Rainbow Brite and Transformers." Writing in his book The Disney Films, Disney historian and film critic Leonard Maltin wrote that "[t]he worst that one could say of The AristoCats is that it is unmemorable. It's smoothly executed, of course, and enjoyable, but neither its superficial story nor its characters have any resonance." Additionally, in his book Of Mice and Magic, Maltin criticized the film for re-using Phil Harris to replicate The Jungle Books Baloo, dismissing the character Thomas O'Malley as "essentially the same character, dictated by the same voice personality.

" Q also gave it three stars out of five and said that the album was "more in the same gold-standard, singer-songwriterly vein." Spin gave it a score of six out of ten and said, "Though he's unlikely to encounter much trouble selling these romantic conceits to his female-heavy fan base, some of the scenarios on John Legend's third studio album could be fresher." The Guardian likewise gave it three stars out of five and said, "As on Legend's previous two efforts, his balladry can tend towards the beige, and oatmeal slow jams such as 'Cross the Line' prove unmemorable; but the innate warmth of Legend's voice mostly carries his material." Slant Magazine also gave it three stars out of five and said, "For a change, Legend doesn't constantly sound as though he's trying to impress the VH1 cognoscenti with his impeccable musicality.

GamePro Magazine called it "a very enjoyable RPG in which sure craftsmanship is easily evident", giving praise to the game colorful graphics and responsive controls yet criticizing its soundtrack, remarking that it "veers widely from unmemorable electronica to hopeless schmaltz." GameSpot declared that despite taking the series into 3D gaming, it was still a very "standard" role-playing game, stating that "even with its handful of new features, Breath of Fire III breaks little new ground." IGN similarly declared that "[f]or an RPG, Breath of Fire presents nothing incredibly new, story-wise, however the way in which everything in the game is arranged and executed shows an incredible amount of attention to detail and depth," additionally giving praise to the game's "memorable characters" and "immersive" gameplay. Game Informer called it a "fairly straight-forward RPG" with colorful graphics and good characters, but found the long load times and high rate of enemy encounters to be a hindrance.

" She added: "While Flynn might be able to glance at a bloody crime scene and leap to some helpful conclusions, audiences might find this dark new drama a little bewildering." James Walton, reviewing the first episode for The Daily Telegraph, commented that the drama had been "bogged down" by its emphasis on the psychological, adding that the "solemn pondering of fathers and sons has so far got in the way of the thrills – but without being fresh, gripping or indeed believable enough to justify its position at centre stage." Digital Spy's Dek Hogan described the plot as "unnecessarily convoluted", and said the serial was "downbeat, one paced and frankly monotonous ... quite why it took three hours to tell a tale that [could] easily have been told far more economically in one is a far bigger mystery than the one this unmemorable bunch of coppers were trying to solve." Harry Venning, writing for The Stage, considered Instinct a "deliciously gruesome, coldly efficient murder mystery.

IGN, in their review of the game, said that the soundtrack for Episode II was not up to par with that of Episode I. They felt that Hosoe's tracks were in general too "upbeat and poppy" for the game's premise, and that while Kaijura's works were better, they were still weaker than Mitsuda's. One review from RPGamer agreed with this sentiment, calling the music on the whole "pretty dull and unmemorable", though another RPGamer review praised the increase in the number of tracks present in the game, giving the listener greater variety. An RPGFan review of the Movie Scene album termed it a "fantastic album", though one with several weak tracks and an aesthetic that would not appeal to many listeners, especially those who disliked vocal tracks. Their review of the promotional album gave that album high marks as well, saying that it was an excellent sampler album and, at the time, easy to find due to its inclusion in the game's strategy guide.

" Richard L. Coe of The Washington Post wrote of the play's transition to the screen, "It could be argued that perhaps it follows too closely, that this is too clearly a photographed stage musical. That I didn't mind in the least, because 'Damn Yankees' is a swell musical comedy and I'm a sucker for musical comedy." John McCarten of The New Yorker found Walston and Verdon "just as delightful" on the screen as they were in the stage version, adding, "Although expository dialogue occasionally hobbles the proceedings, 'Damn Yankees' is for the most part commendably brisk, and the music and lyrics, by Richard Adler and Jerry Ross, are uniformly lively." A somewhat mixed review in The Monthly Film Bulletin praised Verdon as bringing "great presence and a neatly sardonic humour" to the film while describing the score as "pleasant but unmemorable," and summarized the picture as "a musical made with a great deal of verve and some wit, but without much natural gaiety.

However, his performance in that game was eclipsed by his performance against the Detroit Lions, where he rushed a season-high of 141 yards on 15 carries and a touchdown in a 25–19 win for the 49ers, defeating the previously unbeaten Lions. The next few games went pretty well for Gore, rushing for 134 yards and a touchdown against the Cleveland Browns and 107 yards against the Washington Redskins, becoming the 49ers record holder of most consecutive games with 100 yards with five. However, against the Giants, Gore had an unmemorable performance, rushing for 0 yards and leaving in the second half with a knee injury. This was Gore's first game with 0 rushing yards. He returned the next game, where he redeemed himself against the Arizona Cardinals, where he rushed for 88 yards and a touchdown. Next week, however, he rushed for only 39 yards against the Baltimore Ravens powerful defense in 49ers 6–16 loss. The next game, however, proved to be a 49ers win against the St. Louis Rams, where Gore became the 49ers' all-time leading yardage rusher, surpassing Joe Perry's mark of 8,689 yards; he rushed for 73 yards on the game. The next week Gore performed well despite losing the game 19–21, rushing for 72 yards and the 49ers only touchdown.