The result is a wearyingly long day, with much hanging around.
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So wearyingly standoffish, resisting the E.U. even while enveloped and protected by it.
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In Joker, Arthur is portrayed as wearyingly thin — a factor that gave Phoenix reservations.
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Affleck plays the character as wearyingly simple and inflexible, barely able to contain his seething wrath.
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It also has to be acknowledged that it tells it in a wearyingly familiar, conventional way.
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"Refuge" suffers from poor editing; it is wearyingly repetitive and dotted with errors (Mrs Merkel has not, for example, imposed a cap on refugees).
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FIRST comes grief, then outrage and then failed gun-control bills in Congress: the ritual that follows a mass shooting in America is wearyingly familiar.
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In the hands of lesser performers — and in defiance of Chris Dapkins's clear, bright cinematography — this debut feature would feel unbearably hermetic, its navel-gazing angst wearyingly indulgent.
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The script is wearyingly repetitive (as is the sound of triple locks thunk-thunk-thunking every time a door opens or closes), and the special effects are anything but.
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The sweeping, floor-length curtains of Tom Pye's set lend a visual luster to proceedings that are presided over by Penelope Wilton as a rather wearyingly deadpan matriarch, Helena Ekdahl.
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But the New York-spawned musical from a dozen years ago struggles to justify its exclamation point, at least if the director James Baker's wearyingly earnest London premiere is any gauge.
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On account of a wearyingly familiar come-from-behind victory over the Jacksonville Jaguars on Sunday, the New England Patriots will be playing, and that's about as surprising as sesame seeds on a bun.
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His centenary brings with it new books, the most notable of which is probably "The Road to Camelot" (Simon & Schuster), a wearyingly titled but provocative reconstruction of his "five-year campaign" for the White House.
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" While what stands out is Woolf's raw and insistent classism, the line about the queasy undergraduate may ring true for those who feel Ulysses is hampered by, as Daniel Mendelsohn once put it, a "wearyingly overdetermined referentiality.
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CHARGES of collusion over an inquiry into collusion, probes and counterprobes: the swirl of hearings and allegations stemming from Russian meddling in the presidential election is becoming wearyingly hard to follow—which, for some, may be the point.
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But as a wearyingly long prologue explains, an Egyptian princess named Ahmanet (Star Trek Beyond's Sofia Boutella) once made a shady deal with the god Set, and was buried alive in Mesopotamia as punishment, far from her homeland.
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Yet the reply of the Tories to all such concerns is becoming wearyingly pat: that what really matters is having the strongest leader to negotiate the best Brexit deal in Brussels, protect the economy and thereby make public services more affordable.
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You can read critiques of that question, now, and compilations of notable tweets about the man who asked the question, some of them endearingly silly and some of them wearyingly arch, but all of them grounded in the fact that his name is Kenneth Bone.
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The degradations lie in the jewelry and stains she clears from his couch cushions, in the blank checks she types and in the nervously chatting ingénue she transports to a nearby hotel: The spoor of the workplace predator is wearyingly familiar and as ubiquitous as offices themselves.
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On first listen it seems wearyingly traditional, raspy and sparse in tasteful, expected ways.
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The novel was well received by the media. In a review for the Daily Telegraph, Jake Kerridge stated that "the dialogue is extremely funny and Bateman obviously works hard on his easy-going prose". He further went on to state that he felt that "the wearyingly frenetic Brookmyre could learn something from Bateman's style". The Daily Mirror also reviewed the novel and called the series as a whole "compelling and darkly humorous", stating (given this being the second Bateman release of 2005) "the bard of Belfast is on a roll".
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Rotten Tomatoes, a review aggregator, reports that 44% of nine surveyed critics gave the film a positive review; the average rating was 5.2/10. Siobhan Synnot of The Scotsman wrote, "True believers may be riveted by this earnest salute to the sun, but for others this enthusiastic showcase of impressively bendy people stretches the patience at 105 minutes." Mike McCahill of The Guardian rated it 2/5 stars and called it "wearyingly attenuated". Patrick Peters of Empire rated it 3/5 stars and called it a "lyrical, thoughtful, moving pilgrimage".
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Tyler Fisher of Sputnikmusic found the album thematically inconsistent and called it "a predictably unfocused album". Matthew Cole of Slant Magazine called it "consistently uninspired, with each song showcasing an incredibly gifted performer grown wearyingly complacent". Camilla Pia of NME observed "quite a bit of forgettable bravado babble". Chicago Tribune writer Greg Kot viewed that its "songs about 'So Many Girls' and the burden of being a 'Pro Lover' on the prowl" inversely affect the mature-themed songs, writing "It's the kind of lacerating perspective that adulthood brings, but Usher's too busy chasing his past to fully embrace it".
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After Slackjaw, Knipfel wrote two additional memoirs, Quitting the Nairobi Trio (2000) and Ruining It for Everybody (2004). In contrast to his first book tour, Knipfel remained in New York City to promote Quitting the Nairobi Trio, a chronicle of the six months he spent in a locked psychiatric ward in Minneapolis following his last suicide attempt. Critics were largely impressed with Knipfel's second memoir, although there was one recurrent caveat: the chapters containing descriptions of Knipfel's personal hallucinations while at the ward did not work. Ellen Clegg in The Boston Globe believed that while personal hallucinations are "important to the beholder [they] don't always translate in the wider world" and Daphne Merkin in The New York Times expressed how her interest flagged "only when [Knipfel] went into lengthy descriptions of his wearyingly vivid dreams".
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" Janet Maslin from The New York Times enjoyed The Frighteners, but "walked out the theater with mixed emotions," she commented that "Peter Jackson deserves more enthusiasm for expert, imaginative effects than for his live actors anyhow. These lively touches would leave The Frighteners looking more like a more frantic Beetlejuice if Jackson's film weren't so wearyingly overcrowded. The Frighteners is not immune to overkill, even though most of its characters are already dead." Jeff Vice of the Deseret News praised the acting in the film, with the performances of Fox and Alvarado in particular, but said that there were also "bits that push the taste barrier too far and which grind things to a screeching halt", and that if "Jackson had used the restraint he showed in Heavenly Creatures, the movie could have "been the best of its kind".
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The first Munich performances of Die Walküre were generally hailed as successes by audiences and critics; leading composers who were present greeted the work with acclaim, recognising in it evidence of Wagner's genius. One dissident voice was presented by the critic of the Süddeutsche Presse, who was scathing about the dearth of moral standards expressed in the story and furthermore found the whole experience tedious: the first act was, for the most part, "wearyingly long-winded"; the second act only occasionally sprang to life, while in the third it was "barely possible to hear isolated shrieks from the singers through the tumult of the orchestra". The overall effect was "not agreeable ... permeated with what one can only call pagan sensuality, and ... produces finally nothing but an enervating dullness". This harsh, if isolated judgement, found some echo six years later, when Die Walküre was first performed at Bayreuth as part of the Ring cycle.
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