You can't stop watching Mr. Abdul-Mateen, even when his character is at its most repellent.
|
|
Thinly disguised as a national security measure, the ban reinstates many of the most repellent elements of the original.
|
|
Some of the most repellent images show the prisoners protesting their conditions by smearing feces on their prison walls.
|
|
Mr. al-Assad's campaign against hospitals is not just inhumane — it represents one of the most repellent aspects of modern warfare.
|
|
Just as The Atlantic found itself ensnared in controversy over hiring the inflammatory conservative polemicist Kevin Williamson, so ABC learned that hiring Barr meant being responsible for her most repellent opinions.
|
|
If Clinton wins in the fall, she'll be a feminist heroine twice over: not just the first female president, but also the president who squashed the most repellent sexist in American public life.
|
|
I believe this is a time when it is especially important to defend the First Amendment free speech rights of even the most repellent people among us, and the ACLU has just quit.
|
|
A brain that pulsed and quivered, that seized and commanded ... IT was the most horrible, the most repellent thing [Meg] had ever seen, far more nauseating than anything she had ever imagined with her conscious mind, or that had ever tormented her in her most terrible nightmares.
|
|
The government should not be required to approve trademarks "containing crude references to women based on parts of their anatomy; the most repellent racial slurs and white-supremacist slogans; and demeaning illustrations of the prophet Mohammed and other religious figures," the Obama administration said in a written brief to the Supreme Court.
|
|
When narcissi were compared with a number of other plants not normally consumed by animals, narcissi were the most repellent, specifically N. pseudonarcissus Consequently, narcissus alkaloids have been used as repellents and may also discourage fungi, molds and bacteria. On 1 May 2009, a number of schoolchildren fell ill at Gorseland Primary School in Martlesham Heath, Suffolk, England, after a daffodil bulb was added to soup during a cookery class.
|
|
Reception to the character's conflicting looks and psychotic and later (in the 2011 reboot) also childish behavior has been mixed, though with elements such as her sexual allure and shock value well received, particularly in regards to her Fatalities. GamesRadar UK recalled about Mortal Kombat II: "we had two nigh-identical twins of svelte, slinky sex and gore...But then Milly took off her mask and it all went wrong. Horribly, nightmarishly, ball-shrinkingly wrong."GamesRadar UK, Gaming's most repellent anti-babes, GamesRadar, July 10, 2008.
|
|
Two scenes show naked women, one of whom is being raped and strangled; Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film". Both actors, Barbara Leigh-Hunt and Anna Massey, refused to do the scenes, so models were used instead. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the longtime head of Hollywood's Motion Picture Production Code. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mid-1960s.
|
|
Many later Marxists, in particular Karl Kautsky, criticized Bolshevik leaders for terrorism tactics. He stated that "among the phenomena for which Bolshevism has been responsible, Terrorism, which begins with the abolition of every form of freedom of the Press, and ends in a system of wholesale execution, is certainly the most striking and the most repellent of all". Kautsky argued that that Red Terror represented a variety of terrorism because it was indiscriminate, intended to frighten the civilian population and included taking and executing hostages. People were executed simply for who they were, not for their deeds.
|
|
It is a cold and merciless film, but then artists are not required to stand in for the Red Cross. They document disasters, and it is we the viewers who must clean them up, in our own lives." Gavin Millar of The Monthly Film Bulletin wrote, "Though not the last word on the subject, it's still a telling and unhysterical assault on male chauvinism; and if that's fashionable, it's not unwelcome." Charles Champlin of the Los Angeles Times was less enthused, calling the film "the iciest, most merciless and most repellent major (and seriously intended) motion picture in a very long time.
|
|
The voice is that of the drunken boat itself. The boat tells of becoming filled with water, thus "drunk." Sinking through the sea, the boat describes a journey of varied experience that includes sights of the purest and most transcendent (l'éveil jaune et bleu des phosphores chanteurs, "the yellow-blue alarum of phosphors singing"Line as translated by Samuel Beckett in Collected Poems in English and French, (Grove Press: New York, 1977), 97) and at the same time of the most repellent (nasses / Où pourrit dans les joncs tout un Léviathan, "nets where a whole Leviathan was rotting"). The marriage of exaltation and debasement, the synesthesia, and the mounting astonishment make this hundred-line poem the fulfillment of Rimbaud's youthful poetic theory that the poet becomes a seer, a vatic being, through the disordering of the senses.
|
|
In 1965 he fled the family farm in Claremont and holed up in a small hotel in Montreal for 21 days, during which he wrote Place d'Armes. Place d'Armes contained both autobiographical and metafictional elements; its protagonist Hugh Anderson was, like Symons, a wealthy but socially alienated man from Toronto abandoning his comfortable bourgeois life to hole up in a hotel in Montreal, rediscovering himself in sex with male prostitutes in Place d'Armes, and in turn writing his own novel within a novel about Andrew, a character who himself fit the same profile as both Symons and Anderson. The writing was liberally peppered with sexualized puns such as "fingertits", "cocktit" and "assoul". The novel did not garner favourable reviews upon its publication in 1967; writing in the Toronto Star, Robert Fulford deemed Anderson as "the most repellent single figure in the recent history of Canadian writing", and criticized Symons, whom he called "the monster from Toronto", for being incapable of writing about love.
|
|