And while we're at it, a little 'talky talk', Arianna.
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This is a talky opera; it can sag or sparkle.
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READMEPowerful 5-channel speaker that handles your talky TV drama well.
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That said, it's full of talky sequences, political machinations, and slow, thoughtful moments.
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Game of Thrones This week's episode was a talky one, Jeremy Egner writes.
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Milhaud's adaptation is generally considered an interesting failure, excessively talky and too heavily scored.
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The acting here smooths out the blocky, talky, implausibly ruminative aspects of Laverty's writing.
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There's a tension between such lyrics and the talky, amateurish singsong of her delivery.
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"This novel is talky, smart, anarchic and quite sexy," our critic Dwight Garner writes.
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It looks a little like Netflix's answer to stuffy, talky dramas like PBS's Downton Abbey.
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Quentin Tarantino's latest talky, bloody foray into historical genre movies, "The Hateful Eight," arrives online.
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"These were talky, arty films, featuring all-black casts," Nina told Vogue this past September.
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Rivers's early '60s routines were talky single-girl riffs about her inability to land a husband.
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After 45 minutes of talky intrigue and betrayal, a tiny iceberg is visible in the blackness.
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And we also listen in on him communicating with the other balloon pilots via walky-talky.
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She was the clearest front-runner, self-possessed and chameleonic, and a benevolent, if up-talky, presence.
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They have a talky, crackling quality that keeps them afloat even when they veer toward the pretentious.
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"You Don't Have to Say You Love Me" has a talky, baggy quality, especially in its second half.
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If you're looking for a smart, talky, foreign spy series (though one without much action), this one's for you.
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He's like a talented theater director, figuring out how to make a talky one-set play visually engaging and dynamic.
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It has a clever premise, but it's too talky and not as funny or as tense as it should be.
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Briefly sketched characters and a minimalist plot can be a sign of a film's low ambitions, but in this case, it's more a mark of very specific ambitions: the filmmakers want to see giant robots fighting, and don't want to spend too much time on boring human talky-talky that might get in the way.
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The Hateful Eight, his latest work, is a talky, stagey production, featuring a small cast and just a few cramped locations.
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Hulu's stab at the L.A.-talky-dramedy still feels unoriginal, and no one episode seems to have enough story in it.
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"Berlin Station is a little talky, maybe a little over-plotted and populated," Mike Hale wrote in The New York Times.
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His movies are talky, intimate to the point of claustrophobia, and populated by characters that can be charitably described as prickly.
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If you'd rather focus on the visuals, one of the less talky videos comes courtesy of ParaPlaysVR, which you can watch below.
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As might be expected, they are all old white men — centuries old, in fact — who are as ineffectual as they are talky.
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"The Little Foxes" is talky, with convoluted, Shakespearean scheming; there's a reason that thin plots are characteristic of a sung art form.
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Frank: Yeah, "Fences" was so clearly a stage production in cinematic drag, talky and inert in a way that rarely works onscreen.
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Where Fargo is talky and ominous, its bursts of violence spiking through its icy exterior with relative infrequency, Legion is grand and goofy.
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The series divided viewers with its talky storytelling, go-there sex scenes and spotlight on Mr. Groff's character, a narcissistic video game designer.
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The first draft had one or two or three things going on (too talky) but hadn't found its organic heart, its unsayable necessity.
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Mr. Weiner, who has a recurring role in the FX series "The Americans," is electric here, a talky bundle of stuck-in-the-past.
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Even as Chaya becomes a fascinating Henry James heroine, tormented by her wishes and her losses, Asher remains a sad, talky but unknowable elf.
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It's the live TV dramas of the 1950s, shows with long, talky scenes, usually filmed on as few sets as possible to minimize budget.
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But I admire the way she slips long, Latinate words into her metric lines without forcing a rhyme or losing the talky, colloquial feel.
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But the result was a talky, pokey narrative that wasn't brought to life by its action set pieces, no matter how well they were done.
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Suddenly he's writing about talky, funny, melancholic, squabbling, politically savvy Jews in Chicago (where he was born) and in a small, working-class Massachusetts town.
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It's talky and twisty, as usual, but also exuberantly violent (rather than PG-13 safe) and mischievously — or just aggressively — offensive (cue someone saying "Chinaman").
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It is very talky, and often annoying, but in that way that is also true of "Parenthood" — all of you, be quiet and get therapy!
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The talky pace of his raps was an anticlimactic downturn from what the rest of the night offered, though some were in favor of the switch.
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One could argue that this week's "Leftovers" is too slow and too talky, and that not enough happens given that we're so close to the finale.
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If they're going to be all talky with feelings and the weird things that married couples do, you'd need to have the capacity to follow their lead.
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Unabashedly talky and unapologetically angry, Mr. Leigh's film chronicles the debates and machinations leading up to a massacre of demonstrators marching for electoral reform and workers' rights.
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But it felt very akin to the TV dramas of the 1980s — talky and earnest and engaged with the issues of the day, but not exactly high-octane.
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A show that sounds like eavesdropping on a talky pair who just happen to vault into a tangy soprano and a boyish lyric tenor whenever emotions run high.
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Director Josh Cooley said at a press conference that the doll was inspired by The Twilight Zone's Talky Tina, Mattel's Chatty Cathy, Sunset Boulevard's Norma Desmond, and The Godfather.
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Writing in informal, TED-talky prose, Mr. Sunstein comes across as an energetic, friendly dinner-party tablemate, the kind who will do all the talking for both of you.
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Barnett's lyrics recall the talky folksingers of the nineteen-sixties and seventies, but she has a punk-rock heart, and on occasion a loose melody gives way to squall.
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On Sunday that was happening all over the place, as roughly 98 subplots unfolded over lots of conversation and a few flashes of action in a talky, busy episode.
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Plus "Spotlight" and "The Big Short" both do two things Oscar voters love: They employ lots of actors in talky, meaty parts, and they appeal to Hollywood's liberal moral vanity.
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Back amid the talky noise of the laughing crowds on the Strip, I almost felt the familiar Las Vegas time warp, the idea that the night would go on forever.
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Midge herself, who Ms. Sherman-Palladino describes as "pure energy and pure light and such strength," which makes her sound like a lot of Ms. Sherman-Palladino's talky, resilient women.
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There are obvious differences of style and tone — "Krisha" was talky and busy; the new film is taciturn and austere — but the director's preoccupations are as consistent as his sensibility.
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If that's too shop-talky for you ... here's what you need to know -- it can do a quarter mile in 9.65 seconds and has a top speed of 199 mph!!!
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With long, talky exchanges and no camera, the director, Pam MacKinnon, is forced to create focus however she can, mostly by having the actors move back and forth a lot.
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Those two genres are fused together with an arresting artfulness, woozy and dreamy interludes mixing with the talky technical stuff to create a film that is broadly enlightening and piercingly intimate.
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In contrast with other talky genres of games (visual novels, RPGs, whatever Disco Elysium is), Death Stranding has zero interest in letting the player intervene or make choices in its narrative.
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Its inspired and single-minded purpose is to chronicle any grasping attempts by music writers to characterize Mr. Casey, the talky, confrontational lead vocalist and lyricist of the Detroit postpunk band Protomartyr.
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Drenched in tenderness and sensuality, "Premature" is brimming with life, with director Rashaad Ernesto Green brilliantly capturing the picnics, house parties and street scenes of Harlem that burst with teasing, talky energy.
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Mr. Iconis, the 34-year-old ringmaster of these revels, is a prolific songwriter in the tuneful, talky Jonathan Larson mode who has been circling Broadway for a number of years without yet landing.
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Both trailers suggested a season much more concerned with internecine warfare than character building (excepting only the always-talky Samwell and Gilly scenes), which is fine; by this penultimate season, the characters are built.
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I wanted "Let's Go (So We Can Get Back)," the memoir from Jeff Tweedy, of the band Wilco, to be great, but it's slack and talky and less than the sum of its parts.
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"Steve Jobs" also was named best screenplay for Aaron Sorkin's talky script, a surprising show of strength for a film that tanked at the box office and has faded somewhat as a top Oscar contender.
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In her cabaret shows over the years, Ms. Errico has struggled to integrate pop songs into her programs, and this talky number was one of the few for which she successfully adopted a conversational tone.
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The plot often sidles along, with scenes getting talky and the high jinks of Vietnam-era "peaceniks" and pot runners and old-time dairy farmers providing a daily swirl, leaving Press stymied in the middle.
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You'll sit through the talky episodes, or the bland scenes with lots of exposition, or even the enjoyable buddy comedy adventures of certain pairings — but you know you're going to get to the big stuff eventually.
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The 1990s were an advertising heyday for Budweiser, Pepsi, and a handful of forgotten dot com companies, all of whom jockeyed to win the nation's approval with trippy short films featuring talky animals and unshakeable catch phrases.
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Her throaty, talky singing follows the melody with as much restraint as is possible while still carrying a tune, while her writing paints miniature pictures of domestic adult life, encompassing marriage, parenthood and the larger familial structure.
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If Mr. Vavrek's libretto is talky and often stolid — "Your body is a map," Bess sings, "each hair a mountain, each rib a loch" — the plot comes across and Ms. Mazzoli sets the language with passionate clarity.
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What American Jews and Israelis need to recapture is the "Wisdom of the Crowd," his altogether too TED-talky phrase for the collective knowledge and decision-making that occurred during the diverse and dispersed period of Diaspora.
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"I think that if you look at 'The Revenant' versus 'Spotlight,' one is a little bit more procedural and talky, arguably more in a classic sense," he told Variety in an interview before the Academy Awards ceremony.
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" The irony, however, is that the sensitive and talky American cinema that critics and the Cannes jury hoped "Sex, Lies and Videotape" would augur never fully bloomed, in part because of the Sundance success of movies like "Reservoir Dogs.
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" The irony, however, is that the sensitive and talky American cinema that critics and the Cannes jury hoped "Sex, Lies and Videotape" would augur never fully bloomed, in part because of the Sundance success of movies like "Reservoir Dogs.
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The talky 134-minute movie, which features a kindly Melissa Leo as the documentarian Laura Poitras, and a pugnacious Zachary Quinto as the journalist Glenn Greenwald, ends with a trick: Mr. Snowden, who lives in exile in Moscow, plays himself.
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This has contributed to the season's slightly talky feel — character is best revealed through action, but action is hard to come by this late in the story, when much of what's happening is setting things up for the cataclysms to come.
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This six-episode Civil War series, which will follow "Downton" on Sunday nights, beginning this weekend, also shares that British hit's style: genteel melodrama, talky, sentimental and lightly comic, with the occasional action sequence (an escape, a bomb plot) to spice things up.
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As noted, even Marvel's best street-level Netflix dramas tend to be dark and a tad talky in their noir-ish approach, reveling in the storytelling latitude provided by premium TV and the expectation that die-hard fans will binge-view them.
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"Berlin Station," which is part of Epix's first foray into scripted programming (along with the political comedy "Graves"), is a little talky, maybe a little over-plotted and populated — though a lot of 10-episode serials feel that way in the early going.
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But it's the rockish samples of outlying London beatmaker White that define it, because their blatant indifference to hip-hop or EDM align Eagle with talky singer-songwriters like Jeffrey Lewis and Charlie King as much as with Kool A.D. or Serengeti.
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Yes, it will primarily be defined by that concluding battle between Daenerys's and Cersei's respective forces, but even the earlier scenes, which were largely the talky, exposition-filled scenes that have been so prevalent this season, had a spring in their step.
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Idibia's song was talky but tuneful, drawing from hip-hop and dancehall reggae, and it built to an infectious, polyglot chorus: Nfana ibaga Never give another man yawa o So the reason why I say " nfana ibaga " Is that I got my conscience on my side.
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For all that, the season does a whole lot of meandering, yielding long stretches that are not just talky but almost flabby, focusing too much on the jockeying for position and shifting alliances among the bad guys, who aren't consistently interesting enough to warrant all that attention.
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I picked it out because it lets Carmichael sing and play—brass is deployed to color or comment rather than enlarge trio arrangements that are often left to signify on their own, and no choral sweetening bedizens a talky voice that these days could pass for accomplished.
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A talky film that you might file in the "adult-contemporary" section of a video store (if video stores were organized like record stores, and either still existed), this Sideways-on-air was predestined to be the biggest "almost" of the 82nd Academy Awards in 2010.
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Yet even with her malevolent presence, the whole thing tends to be a rollicking bore -- pretty to look at in terms of its production design, but too room-bound and talky to feel like an epic, certainly compared to the mother of all fantasies to which HBO just said goodbye.
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In a landscape of action blockbusters that struggle both to create good action and to say anything meaningful, it's a blessing to get a movie like Shadow, which delivers thrilling action, has a lot on its mind, and can convey its ideas through the actors and their framing rather than getting too talky.
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Even so, Eastwood and Komarnicki don't give him much to do but explore his 50 shades of grave in a series of mundane, talky after-the-fact sequences, including the hearing where NTSB investigators Charles Porter (Glee dad Mike O'Malley) and Elizabeth Davis (Breaking Bad co-star Anna Gunn) drill into his decision-making.
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Robt Sarazin Blake: Recitative (SameRoom) In a vibrato-shaded baritone that recalls a French chansonnier more than an Americana guitar guy, the first singer-songwriter in history to linger on the word "gerrymander" enlists a limber band colored decisively by horn man Thomas Deakin to array sixteen talky songs lasting a mere hour and a half over two CDs.
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They're still busy adding to their résumés: Parsons currently at the Public Theater in Tony Kushner's "A Bright Room Called Day," as a character whose name translates to "The Old One"; Smith on Broadway, with a talky role in Matthew Lopez's "The Inheritance"; Burrows back Off Broadway next month in "Chekhov/Tolstoy: Love Stories," at the Mint Theater Company.
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As for the Queen of Dragons herself, she finally has the runtime for a couple of plum, talky, and (as always) wine-heavy scenes with Daario and Tyrion that manage to challenge gender roles, communicate the sorrow of choosing ambition over personal desire, and surprise us with Tyrion's earnest faithfulness—in a man to whom faith was previously an absurd notion—in Daenerys.
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But the reason Game of Thrones occasionally seems like its talky scenes and its action scenes occur on two completely different planes of existence is because one of the big downsides of pure serialization is that once the writers figure out which plot points to hit, or which character pairings to toy with, in order to maximize the audience's investment, they'll keep hitting those buttons over and over and over again.
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We're currently drowning in the return of the return of the gay past: this show; a mostly galvanic "Angels in America"; last year's electric "Falsettos" revival; "Pose" on FX, which is set in the ball scene of the late 1980s; "Torch Song Trilogy"; the return of "Buddies," Arthur J. Bressan Jr.'s talky, mostly forgotten AIDS friendship dramedy from 1985; and whatever this revivified "Will & Grace" is supposed to be.
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A. O. Scott of The New York Times called it "a talky, sententious affair".
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A vindictive living doll from a 1963 episode of the Twilight Zone is called Talky Tina.
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Kirkus Reviews described the sequel as "more somber in tone", and as "sometimes too talky but richly detailed and expertly plotted. A grand entertainment".
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But we're > keeping it fast and talky: some scenes are eight pages of dialogue.REYNOLDS > RAP Scott, Jay. The Globe and Mail27 June 1987: E.1.
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Variety wrote that "a promising concept" had been "bungled by a talky, repetitive screenplay and overbroad direction.""Film Reviews: Freaky Friday". Variety. December 22, 1976. p. 22.
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None of the principal players bring the kind of honest, spontaneous feeling to their performances that is crucial to animating the highly literate, sometimes tryingly talky plays of Shaw.
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The final release of the standard “grow hair” Crissy dolls designed with the aforementioned “button and knob” method of adjusting the hair length came in 1974. This was "Beautiful Crissy with Twirly Beads". She came with a wired hair accessory that resembled two strands of pink and white beads, and she wore a floor-length gown of pink gingham. All production models of the Crissy and Velvet dolls, except for "Talky Crissy" & "Talky Velvet", also had an African-American version doll.
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Maitland McDonagh of TV Guide gave the film 2 out of 5 stars, noting that it has "all the earmarks of a pilot for a series" but that it is "talky and slow-moving".
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The New York Times. Arthur D. Murphy of Variety called it "a very amusing crime comedy" if "a bit long and talky."Murphy, Arthur D. (May 15, 1968). "Film Reviews: Never A Dull Moment". Variety. 26.
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However, Cody's pace never lessened, and he was in demand immediately following his first "talky", despite his well-known difficulty with the memorization of dialogue.Fraser, Harry. I Went That-a-Way, 1990, Scarecrow Press, New York.
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Rachel Bentham felt the love triangle was "unusual", and enjoyed the "evocative" art. Leroy Dessaroux felt the art gave the piece a Film Noir feel, although the dialogue made it feel like a "talky teen soap opera".
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DVD Talk's John Sinnott was more positive, giving the story three out of five stars. He criticised the "talky beginning" and non-frightening Quarks, but felt that it was a "wonderful romp" due to the TARDIS crew.
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TV Guide gave it a negative review, scoring it 2/5, and finding it too talky despite a small number of good action scenes; they also found attempts to establish parallels to the Vietnam War did not work.
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Walky Talky Hawky is a 1946 Warner Bros. Merrie Melodies theatrical short directed by Robert McKimson. The cartoon was released on August 31, 1946, and features Henery Hawk and Foghorn Leghorn. This is the first appearance of both Foghorn Leghorn and the Barnyard Dawg.
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Tajikfilm (, ) is a Tajik (former Soviet) film studio. Tajikfilm was founded in 1930 as a newsreel studio; the studio released its first feature film in 1932 and its first talky in 1935. In 1941 Tajikfilm merged with Soyuzdetfilm, only to reemerge in 1943. The studio produced films in both Russian and Tajik.
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Later reviews such as that of Leonard Maltin, noted that the film was an "... interesting if failed attempt to make a hard- hitting, topical film ... Director/cowriter Lewis' visual flair can't save a talky, pedestrian script. Wong comes off well, as usual.""Leonard Maltin Film Review: Bombs Over Burma (1942)." Turner Classic Movies.
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Note: these reviews reference the original 170-minute mini- series, not the 114-minute edited version. "Op Center Drowns In Numbing Details. The Four-hour Mini-series Is A Talky Piece Dressed As A High-tech Espionage Thriller. It's Not Just The Weapons That Are Deadly" introduced Jonathan Short's 1995 review in the Philadelphia Inquirer.
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The Other Man received negative reviews from film critics. It currently holds a 15% rating on Rotten Tomatoes with the consensus: “Despite the best efforts of a talented cast, The Other Man is talky, witless and tension-free.” It was a box office bomb as well, earning just over $1 million against its $15 million budget.
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Alan Jones of Radio Times gives the film one star out of five, calling it a "talky, laughably low-budget and hopelessly inept clone of Invasion of the Body Snatchers". Time Out describes it as a "threadbare Anglo-American enterprise with too much vapid chat and too little action" that "[ends] very feebly (in a British sort of way)".
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The Washington Post. D11. Harrison's Reports gave the film a grade of "Fair" and wrote that "Catholics and those strongly interested in religious themes will be about the only ones deriving much satisfaction from this CinemaScope-Color account of the life of St. Francis. For this superficial treatment is almost devoid of action and suspense, while being too talky.""Francis of Assisi".
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Robinson complained that most of the series' storyline "falls flat", saying that it was "delivered too rapidly and with little affect". She also compared Le Chevalier D'Eon to GONZO's Gankutsuou, describing both series as "heavily talky yet fast-moving enough to be confusing." Martin praised the series' pacing, saying that it is "one of the true keys to the quality of this series".
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Henery Hawk is a cartoon character from the American Looney Tunes and Merrie Melodies series, who appeared in thirteen cartoons. His first appearance was The Squawkin' Hawk, directed by Chuck Jones and produced by Leon Schlesinger. Henery's second appearance was Walky Talky Hawky which also featured Foghorn Leghorn and The Barnyard Dawg, directed by Robert McKimson. The last Warner Brothers short to feature Henery was Strangled Eggs.
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In 1939 Navy Commander Victor "Pug" Henry has been appointed US Naval attaché in Berlin. During the voyage to Europe aboard , Victor befriends a British radio personality, Alistair Talcott "Talky" Tudsbury, his daughter, Pamela, and a German submarine officer, Captain Grobke. In the television version, he also meets German General Armin von Roon. In the book he only meets Von Roon later at a Berlin dinner party.
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Bosley Crowther of The New York Times wrote that the film was "talky (much of which is quite hard to understand) and the dramatic incidents are less vivid than they ordinarily are in Disney films. However, the whole thing is wholesome, in a nice, simple, outdoor way, and the scenery is pretty in color. It should entertain the kids."Crowther, Bosley (July 11, 1958).
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Foghorn Leghorn is a cartoon character who appears in Looney Tunes and Merrie Melodies cartoons and films from Warner Bros. Animation. He was created by Robert McKimson and writer Warren Foster, and starred in 29 cartoons from 1946 to 1964 in the Golden Age of American Animation. All 29 of these cartoons were directed by McKimson. Foghorn Leghorn's first appearance was in the 1946 Henery Hawk short Walky Talky Hawky.
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Gary Arnold of The Washington Post described the film as "a talky, static, derivative picture that seems to run on forever," adding, "Laughlin relies so heavily on the original plot and dialogue of 'Mr. Smith Goes to Washington' that one may feel a little embarrassed on his behalf. It's obvious that he's used the Capra film as a crutch rather than an inspiration."Arnold, Gary (May 12, 1977).
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Historian Eric Van Young reviewed Meyer's Esperando a Lozada, saying "the major essays are beautifully written, talky, strongly rhetorical, slightly wistful in tone, and intensely romantic and hardheaded at one and the same time, as with much of the best French annaliste history."Eric Van Young, "To See Someone Not Seeing: Historical Studies of Peasants and Politics in Mexico." Mexican Studies/Estudios Mexicanos 6, no. 1 (1990): 147.
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Lady Talky, Alison Light, London Review of Books, Vol. 30 No. 24, 18 December 2008"Review: Keynes and the Celestial Dancer", by Anand Chandavarkar, Reviewed work(s): Lydia and Maynard: Letters between Lydia Lopokova and Maynard Keynes by Polly Hill; Richard Keynes, Economic and Political Weekly, Vol. 25, No. 34 (25 August 1990), p. 1896 In her novel Mrs Dalloway (1925), Woolf bases the character of Rezia Warren Smith on Lopokova.
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" He then praised many aspects of the episode, including the cast, stating, "Since episode one, the show has been built on these strong female characters. It doesn't matter whether they're battling for good or evil. Lily Rabe, Jessica Lange, and Sarah Paulson are in a whole league of their own." Geoff Berkshire of Zap2it called the episode "overly talky...and not quite as compelling as the rest of the season so far.
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The war correspondent Pyotr Molchanov, who had frequently met Shanina at the front, described her as a person of unusual will with a genuine, bright nature. Shanina described herself as "boundlessly and recklessly talky" during her college years. She typified her own character as like that of the Romantic poet, painter and writer Mikhail Lermontov, deciding, like him, to act as she saw fit. Shanina dressed modestly and liked to play volleyball.
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In an interview, Craven stated that unlike his previous films that had problems with the Motion Picture Association of America, the first cut got an R rating without any problems. According to an article from Fangoria #71, the original cut was three hours long but Craven felt that it was too long and talky so it was cut down to 98 minutes. It was then test screened to the audience and their reactions were favorable.
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Ken Tucker of Entertainment Weekly magazine stated "Our Sons means well, and performances are above reproach. But it’s also an infuriating piece of work that insults the intelligence of everyone invoked, especially its audience". He gave the movie a score of D. "While the movie is too talky and not poignant enough to be great television, it rates high for integrity" is the opinion of David Hiltbrand of People. He also said that Julie Andrews brings "enormous dignity and clarity to her role".
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In the 2007 limited series Shazam! The Monster Society of Evil, written and illustrated by Jeff Smith, Mary Batson is depicted as a prepubescent child who does not age when she transforms into Mary Marvel. Mary meets her lost brother in the circus that is attacked by Alligator Men and is rescued by Captain Marvel. With the help of Talky Tawny, a trickster spirit who changes into various forms but prefers being a tiger when convenient, the siblings learn they are related.
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One of the monologues of George C. Scott as Bock in the film, in which Bock says he is miserable and considering suicide, was repeated verbatim from a conversation that Chayefsky had with a business associate during that time.Considine, pp. 274-275 The long speeches written for Bock and other characters by Chayefsky, later praised by critics, met resistance from United Artists executives during the making of the film. The script was described as "too talky" and containing excessive medical terminology.
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"A Melancholy 'Camelot,' With Plenty of Scenery and Costumes" The New York Times (requires registration), April 13, 2003 However, "Jay Lerner's murky book... has helped sink many a revival of the musical.... It's a good story, but Lerner's book is talky and dense, filled with pontificating soliloquies that would have been more powerfully contained in song. Moreover, while the entire show rushes towards a bloody climax... when it finally arrives, it is merely sketched upon in one song, 'Guenevere.' ...The score, though, is pure magic."Schwartz, Jonas.
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The Guardian (1959–2003) The Washington Post enjoyed the final assault, describing it as "a pip", and praised the authenticity of the action sequences, but thought "an awful lot of talky, slack footage accumulates before this whirlwind payoff" and that the "storytelling rhythm is defective."By, G. A. (11 October 1983). Ill-conceived 'option'. The Washington Post Within days of the film's release, producer Lloyd received a phone call from Stanley Kubrick saying how much he enjoyed the film, in particular the performance of Judy Davis.
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Beast of the Yellow Night received mostly negative reviews upon its release. Linda Gross of the Los Angeles Times called it a "confusing, implausible rather poorly made horror film", although she admitted it had "a nice twist" showing "two kinds of caring: that of a woman whose love implies expectations and that of a friend who wants nothing and is thereby able to give more." Graeme Clark of The Spinning Image rated the film three out of 10 stars, criticizing the film's overly talky and confusing script.
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Variety wrote, "There's almost nothing good to say for this horror scifier ... The scifi aspects don't enthrall and the thrill aspects don't shock". Author and film critic Leonard Maltin awarded the film the lowest possible rating of "Bomb", calling it "yet another nominee for worst picture of all time". On his website Fantastic Movie Musings and Ramblings, Dave Sindelar called the film "wretched", criticizing the film's messy plot and "talky/dull" scenes. TV Guide called the film "one of the all-time worst sci-fi pictures".
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The two time periods in the film are filmed in different styles, even though they overlap at times. The 1920s scenes are slow, talky, with elements of the kabuki theatre. They are accompanied by dramatic orchestral music, while Yoshida utilizes the traditional Japanese interior architecture to portray alienation and distant relations between the characters by filming their faces and bodies separated by windows, doors, etc. On the other hand, the 1960s scenes are more avant- garde in terms of free-form visual approach and their psychedelic rock soundtrack.
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The film took in USD6.7 million in its opening weekend and debuted at the number four spot. This was one of Cruise's worst wide opener box office takes since The Color of Money, and Catherine Elsworth of The Daily Telegraph wrote that this result "puts it on course to be Cruise's lowest-grossing movie of all time." The film also opened poorly in Europe, with Variety reporting: "Savage reviews dealt the talky political drama a big blow." In the United Kingdom, Lions for Lambs took in $1.4 million and opened in sixth place.
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"Timebomb" received mostly positive reviews from music critics. Bradley Stern of Idolator described it as a "massive smash" with a "truly massive production" and added that "This song truly is the best thing ever." Similarly, Scandipop wrote that "Timebomb" was the best thing that Tove Lo has "ever done" and praised its composition. Both Ilana Kaplan from Refinery29 and the staff of Capital FM described it as an "anthemic" recording, while Sam Lansky from Time called the song a "madcap stampede" while pointing out "talky lyrics and a chorus that explodes like a confetti cannon".
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The poetry of Albert Goldbarth is widely praised, and he has published extensively, with more than 30 collections to his credit, including poetry and essays. He is known for his prolific production, his gregarious tone, his eclectic interests and his distinctive "talky" style. In his review of Kitchen Sink, David Baker of The Kenyon Review says: "Albert Goldbarth is ... a contemporary genius with the language itself ... There is simply no contemporary poet like him." Goldbarth was awarded The Chad Walsh Poetry Prize by the Beloit Poetry Journal in 1994.
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On Rotten Tomatoes the film holds an approval rating of 16% based on 204 reviews, with an average rating of 3.94/10. The website's critical consensus states: "Even at nearly three hours long, this ponderous, talky, and emotionally distant biopic fails to illuminate Alexander's life." On Metacritic, the film has a weighted average score of 39 out of 100, based on 42 critics, indicating "generally unfavorable reviews". One of the principal complaints among American film critics was that Alexander resembled less an action-drama film than a history documentary.
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Mulkern noted that Barbara "[came] across as uncharacteristically wet" and described Simpson's score as "annoyingly childish". DVD Talks John Sinnott felt that the serial was a "solid installment", but considered it strange that the main characters do not interact with the criminals. Dave Golder of SFX described the serial as "undeniably slow, talky and lacking in excitement", particularly criticising Barbara's characterisation. Christopher Bahn of The A.V. Club appreciated the ambition of the serial but felt that it "never quite gels together" and the condensed final episodes hindered the overall story.
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Pious is credited with tipping Allen to Delmar, who based the character on a real-life person he had encountered while hitchhiking in 1928. Within weeks, Claghorn became one of the leading comedy characters of radio as listeners across the country began quoting his catchphrases: "Somebody, Ah say, somebody knocked"; "I'm from the South, Suh"; "That's a joke, son"; and "Pay attention, boy!" Claghorn served as the model for the Warner Bros. cartoon character Foghorn Leghorn, who first appeared the following August in the Oscar-nominated Walky Talky Hawky.
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Among the Warner Bros. cartoon stars who were created after Schlesinger's departure include Pepé Le Pew (1945, Odor-able Kitty by Jones), Yosemite Sam (1945, Hare Trigger by Freleng), Sylvester (1945, Life with Feathers by Freleng), Foghorn Leghorn (1946, Walky Talky Hawky by McKimson), Wile E. Coyote and the Road Runner (1949, Fast and Furry-ous by Jones), and Speedy Gonzales (1953, Cat-Tails for Two by McKimson). In later years, even more minor Looney Tunes characters such as Freleng's Rocky and Mugsy, Jones' Marvin the Martian and McKimson's Tasmanian Devil have become significantly popular.Sperling, Millner, and Warner (1998), p. 187–8.
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The Beast in the Cellar received mostly negative reviews upon its release. Author and film critic Leonard Maltin gave the film 2/4 stars, stating that Reid's and Robson's performances brought the movie to an average level. TV Guide awarded the film 1/4 stars, stating that "The potentially interesting premise is undone by an extremely chatty script." On his website Fantastic Movie Musings and Ramblings, Dave Sindelar called the film "dull" and criticized the film's flaccid direction, endlessly talky sequences, lack of suspense, over focus on Reid and Robson's characters, and the design of the title monster.
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It is directed with vigor and played with bounce, and though it is talky, the talk is amusingly semiliterate in the Madison Avenue manner. Adapted from the novel by Radioman Al Morgan, it focuses on the men who guide the stars of the TV-radio industry, holds them high to show how low they are, and growls: in this business, anything goes, even integrity—if it sells soap and toothpaste. :Whatever the merits of the argument, the pictorial demonstration is compelling. The Great Man pounces quickly on its subject matter and, from first image to last, never lets go.
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" He later called it the fourth best film of 2004." IGN's Richard George felt "Sam Raimi and his writing team delivered an iconic, compelling version of Spider- Man's classic foe... We almost wish there was a way to retroactively add some of these elements to the original character." In 2016, James Charisma of Playboy ranked the film #9 on a list of 15 Sequels That Are Way Better Than The Originals. Conversely, J. Hoberman, of The Village Voice, thought the first half of the film was "talky bordering on tiresome", with the film often stopping to showcase Raimi's idea of humor.
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"She responded instinctively to the expressive choreography of Mikhail Fokine, his rebellion against the stiff academicism of the classical style, and her chance came when she was chosen to join the Ballets russes... on their European tour in 1910.... Diaghilev knocked a year off her age and promoted her as a child star."Alison Light, "Lady Talky," London Review of Books, 18 December 2008. She stayed with the ballet only briefly, knowing that she had little future in Russia ("she was the wrong size and shape for the grand roles and there were already plenty of prima ballerinas in St. Petersburg").
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'Roadside Prophets' is a talky picture, full of goofy introspective ideas, but it has no intention of developing any of them." Hicks stated that the film "has its moments, especially the bits by Guthrie and Cusack, who are gone almost before you realize who they are, and Doe demonstrates a natural acting ability as a disillusioned guy whose life is going nowhere. But the film just meanders pointlessly and some scenes are embarrassingly amateurish in their staging. It's like a home movie in some ways, and it's really not sharp-witted enough to attract anything more than a cult audience.
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On the review aggregator website Rotten Tomatoes, the film has a 64% approval rating, based on 125 reviews, with an average rating of 6.26/10. The site's critical consensus states: "Episodes vary in quality, but overall this talky film is quirkily engaging." On Metacritic, the film has received a weighted average score of 65 out of 100, based on 35 critics, indicating "generally favorable reviews". William Thomas of Empire Magazine delighted in the "quirky conversations" and "almost nostalgic air" which was punctuated with "lovely high contrast black-and-white imagery and snatches of music from Mahler to doo-wop".
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Minties were invented in 1922 by James Noble Stedman (1860–1944), son of company founder (and Australia's first confectioner) James Stedman (1840–1913). They were patented in 1926,Samson, W. S. (ed.) The Australian National Dictionary Oxford University Press 1988 and were manufactured by James Stedman — Henderson Sweets Limited at the "SweetAcres" factory at Rosebery, New South Wales.Sydney Morning Herald Wednesday 8 October 1919 Other well-known lines made at Sweetacres were "Fantales" and "Talky Toffee".West Australian 9 October 1930 In 1968, Stedman-Henderson was taken over by Hoadleys, which was itself acquired in 1971 by Rowntree's.
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Cartoon Releases - 1955 Soon, McKimson assembled a new team of artists, including layout man/background painter Robert Gribbroek (formerly of Jones' unit) and animators Warren Batchelder, Ted Bonnicksen, and George Grandpre. Tom Ray and Keith Darling helped at various points, while Russ Dyson briefly worked with Mckimson in 1956 until Dyson's death that year. McKimson's better known efforts would include Hillbilly Hare, A-Lad-In His Lamp, Stupor Duck, The Windblown Hare, Walky Talky Hawky, and Big Top Bunny. His office in the Termite Terrace studio was on the second floor.Remembering the McKimson’s: A Chat with Robert McKimson Jr.
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Senator Claghorn made his radio debut October 7, 1945, and six months later was called "unquestionably the most quoted man in the nation" by Life magazine. The role inspired the Warner Bros. animated character Foghorn Leghorn,Fred Allen at the Museum of Broadcast Communications; retrieved April 8, 2012 first seen in the Oscar-nominated cartoon Walky Talky Hawky (1946). "During the late 1940s, Mr. Delmar captivated 20 million radio listeners every Sunday night with his burlesque of a bombastic, super-chauvinistic legislator who drank only from Dixie cups and refused to drive through the Lincoln Tunnel," wrote The New York Times.
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The driving forces behind Hill 50 Gold, Sydney businessmen Peter Cook and Peter Newton, later also sold another gold mining company to Harmony, Abelle Limited, for A$155 million in 2003.Bluestone bet for tinny punters The Sydney Morning Herald, published: 5 August 2004, accessed: 20 January 2010The CRW (Crikey Revised Wealth) Rich List - Peter “Talky” Newton crikey.com.au, accessed: 20 January 2010 Hill 50 became part of Harmony's Australian operations, consisting of Hill 50, the South Kalgoorlie Gold Mine, the Big Bell Gold Mine (closed June 2003) and the Gidgee Gold Mine (sold in December 2003).
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" Joseph Bensoua called it "slow-moving space junk... Its 81-minute length, economical (make that cheap) sets and talky script give it a texture that's more akin to a Twilight Zone episode -- only not as good." Rick Lyman, similarly, described the movie as "a lazy, whimsical sci-fier," while sympathizing with Max, "an outer-space Holden Caulfield - young, confused, yearning to get away from his strict surroundings and cut loose in the big city (in this case, the planet Earth). His performance is the best thing about the movie. His Max is hopelessly sweet and naïve, way too trusting for his own good.
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Matt Donato of We Got This Covered rated it 2/5 stars and wrote, "Maybe you'll be more forgiving of such a rapid- fire approach to horror filmmaking, but between Layla's borderline unwatchable nature, to a story that doesn't really have time to explain any of the chilling actions taking place, Keating's latest film struggles with being a talky, under-complicated breeze." Frank Scheck of The Hollywood Reporter wrote that the film's atmospheric tension is not enough to overcome the derivative storyline. Matt Boiselle of Dread Central rated it 3.5/5 stars and praised Morvant's acting, which he called a "potent performance".
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The money was raised in 1977 for the $75,000 purchase of the Cinema from a major fundraising drive and significant donations from the community of $27,000. The local nickname for the theatre. "Big Red", also indicates the emotional attachment the community holds for the building. The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales. As the Roxy is virtually intact from its construction in 1930 and 1933 additions, it offers potential for further research into the design, operation and cultural aspects of early theatres from the time when "talky" pictures were first introduced.
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" Walter Kirn of The New York Times suggests that the "grisly scenes of dungeon interrogations and torture sessions" cast other aspects of the novel in a pale light, draining them of their significance and impact. Similarly, Kirn implies that the "narrative machinery" mentioned by Wood as being somewhat unwieldy also produces a largely superfluous storyline. The plot line centered on Urania Cabral is described by Sturrock as being an emotional centre that focuses the novel, and Wood agrees that her confrontations with past demons hold the readers attention. In contrast, Kirn's review states that Urania's segments are "talky and atmospheric ... [and] seem to be on loan from another sort of book.
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Tom Grieves initial pitch centred on "a woman operating within the shadow of power". Ideas for the "power" included the Prime Minister, Sir Mick Jagger, and Rupert Murdoch before he settled on a fictional royal family. The relationship between the woman and the royal family was modelled on that seen in The West Wing between Jed Bartlet and his staff; Grieves desired to mimic The West Wing "talky, aspirational, sophisticated" style in his own series. The earliest summaries of the plot placed the focus of the series on a woman who is working undercover at Buckingham Palace with the intent of writing an exposé of the King's life.
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Monroeville is also the location of the mall used in the 1978 film. In addition, a store shown in the mall is called "Gaylen Ross", an obvious tribute to actress Gaylen Ross, who played Francine in the original film. In the beginning of the film, a helicopter that is very similar to the one in the original flies across the screen. In The Zombie Encyclopedia, Volume 2, academic Peter Dendle said that the original film "served as a bridge between the talky, slow-paced 1970s horror and the fast-paced splatter to come in the 1980s", whereas the 2004 remake "generally forsakes slow- mounting suspense in favor of frenetic action".
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While her vocals on Animal were heavily processed with auto-tune, often to produce rapid stuttering or over-pitch corrected vocal effects, leading to questions on vocal talent, she expressed confidence in her abilities, showing some of her vocal talent in the ballads "Animal" and "Hungover" on the album. Kesha's second studio album Warrior used considerably less autotune, although it still showed in a number of songs. The album's piano and guitar-driven ballads such as "Love Into The Light", "Wonderland" and "Past Lives" display Kesha's vocal ability. Kesha also uses a trademark talky "white-girl" rapping style with exaggerated discordant phrasing and enunciation.
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Sizemore wrote that he wished the message was conveyed "more [subtly]" and criticized the beginning of the book as "the toughest to get through", but felt the "pace and readability improve" afterwards. He praised the art as "gorgeous" with "lots of eye candy" for those who enjoy fantasy artwork. Overall, Sizemore thought An Ideal World was "wasted potential", with too much emphasis placed on the message, detracting from the storytelling. Publishers Weekly praised An Ideal World for its message and art, but criticized how "the book gets bogged down in talky heavy-handedness, as if someone put nice fantasy illustrations into a business self-help book".
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In April 2005, Winston confirmed the film was on hold because of repeated revisions to the film's script, none of which satisfied Spielberg. According to Winston, "He felt neither of [the drafts] balanced the science and adventure elements effectively ... too much science will make the movie too talky, but too much adventure will make it seem hollow". Progress on the film stalled during 2005 as Marshall and Spielberg were busy with other film projects. At the end of the year, Spielberg said he planned to include a scene inspired by Crichton's novel The Lost World that would involve characters on motorcycles as they flee from raptors.
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Cyrus performing "7 Things" on the Wonder World Tour "7 Things" received mixed reviews from critics. Fraser McAlpine of the BBC called the song "smashing", complimenting Cyrus' "punker attitude all wrapped up in an immaculate gloss". Todd Martens of the Los Angeles Times wrote that while he wished the song had played up Cyrus' frustration rather than concluding with the kind final verse, "the winning, full-on chorus -- and Miley's exuberance -- are enough to make it a success." Ben Ratliff of The New York Times said "7 Things" "lists with talky insecurity what she hates about a guy" and calls "the seven things she likes [...] a shameless Disney ending".
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Film historian and critic Glenn Erickson was humorous in his review of the film's DVD release. He wrote, "After a couple of uninspired potboilers in the late 1940s (The Pretender is actually a good movie), Wilder hit his groove of incompetence with this no-budget wonder concerning the saddest space invader on record ... Endless talky scenes alternate with the entire cast of 6 running back and forth in the old interior of the Griffith Planetarium. The poor invader is a bald Muscle Beach type in a radioactive space suit and a helmet that appears to be the same prop from Robot Monster, somewhat altered."Erickson, Erick.
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They directed some of the most beloved animated shorts of all time, including (for Clampett) Porky in Wackyland, Wabbit Twouble, A Corny Concerto, The Great Piggy Bank Robbery, The Big Snooze, (for Freleng) You Ought to Be in Pictures, Rhapsody in Rivets, Little Red Riding Rabbit, Birds Anonymous, Knighty Knight Bugs, (for Jones) Rabbit Fire, Duck Amuck, Duck Dodgers in the 24½th Century, One Froggy Evening, What's Opera, Doc?, (for McKimson) Walky Talky Hawky, Hillbilly Hare, Devil May Hare, The Hole Idea and Stupor Duck. Besides McKimson being promoted to director in the mid-1940s, Arthur Davis took over after Clampett in mid-1945, after being was fired by Selzer. Clampett went to work on Beany and Cecil.
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Andre Sennwald of The New York Times called the film "a drama of beauty, dignity and nobility", praising Shearer's performance as "a brave and touching piece of acting" and Laughton as "superb." Variety called it "truly an actor's picture" with a "final stretch that grips and holds", but that overall it was "slow" and "talky" and suggested its running time could have been shortened. Film Daily lauded it as "Unquestionably one of the greatest love stories ever filmed", with "a superb performance" by Shearer and one of Laughton's "most dominating performances." "I found myself pleasantly surprised by the performances of Miss Shearer and Mr. March", wrote St. Clair McKelway for The New Yorker.
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The films were so realistic, which had always seemed to be missing in the westerns of the 1930s, 40s and 50s, in the brutality and the different shades of grey and black. Leone found an even darker black and off-white. There is realism in Leone’s presentation of the Civil War in The Good, the Bad and the Ugly that was missing from all the Civil War movies that happened before him. Leone’s film, and the genre that he defined within it, shows a west that is more violent, less talky, more complex, more theatrical, and just overall more iconic through the use of music, appearing operatic as the music is an illustrative ingredient of the narrative”.
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A US Military point-talk card used in Afghanistan, with the upper left corner being used to describe an individual by indicating their height, eye color, etc. by pointing A pointy-talky card or point talk card is a sheet used for communication between people who do not share a mutual language, on which the people conversing can point at the pictograph or dual-language phrase that conveys their message. During World War II, memoirs of US servicemen mention using such cards to indicate phrases in Chinese and in French. Point talk cards are also used by police and emergency services personnel to communicate with people who do not speak the authority's language.
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" Also premiering in February 2019 was Marcantel's adaptation of George Bernard Shaw's play St. Joan, performed by the Delaware Theatre Company. The Philadelphia Inquirer reviewer Julia Klein appreciated Marcantel's "fine job of judiciously trimming Shaw’s talky text," but found that the "dialogue tends to slow the piece down." Klein and WHYY reviewer Christine Facciolo both note that Marcantel's St. Joan strays further from historical reality than Shaw's original, and does represent a more feminist play than Shaw's. Facciolo notes that the play was timed to coincide with the centennial anniversary of women's suffrage in the United States, but that St. Joan may be a better class hero than a feminist one, "an illiterate peasant girl [who] could rise to determine the fate of nations.
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Audiences surveyed by CinemaScore gave the film a grade A- on scale of A to F. Roger Ebert enjoyed the film, noting its homages to the film serials of the 1930s–1950s. Although Ebert cited the visual effects as being state of the art, he described them "as charmingly direct as those rockets in the Flash Gordon serials—the ones with sparklers hidden inside of them, which were pulled on wires in front of papier-mâché mountains". Leonard Maltin wrote that the "film captures the look of the '30s, as well as the gee- whiz innocence of Saturday matinée serials, but it's talky and takes too much time to get where it's going. Dalton has fun as a villain patterned after Errol Flynn".
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More popular Looney Tunes characters were created (most of which first appeared in Merrie Melodies cartoons) such as Tweety (debuted in 1942's A Tale of Two Kitties), Sylvester (debuted in 1945's Life with Feathers), Yosemite Sam (debuted in 1945's Hare Trigger), Pepé Le Pew (debuted in 1945's Odor-able Kitty), Foghorn Leghorn (debuted in 1946's Walky Talky Hawky), Marvin the Martian (debuted in 1948's Haredevil Hare), Wile E. Coyote and the Road Runner (debuted in 1949's Fast and Furry-ous), Granny (debuted in 1950's Canary Row), Speedy Gonzales (debuted in 1953's Cat Tails for Two), Witch Hazel (debuted in 1954's Bewitched Bunny), and the Tasmanian Devil (debuted in 1954's Devil May Hare).
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Edwards asked his animators to add sight gags to the classroom scene, since it was dialogue-laden and SMOSH did not want the show to be "too talky". The gags that the animators came up with included the students flying paper airplanes and shooting spitwads, and Krogzilla accidentally pulling down a chart of the male reproductive system. The line about Alan being from Tulsa was an homage to Edwards' own home town and the line about not being allowed to smoke is a reference to SMOSH not allowing Edwards to include smoking or even references to smoking in the show. Jason Gerali, who plays Alan, and Vanessa Ragland, who plays Alice, previously played Randy and Lola respectively in the fifth episode.
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Frank Scheck of The Hollywood Reporter wrote that "while it earns points for its thoughtful, non- exploitative approach to its subject, [it] is neither brainy enough to attract sci-fi aficionados nor fast-paced enough to please horror fans". Film Journal International wrote, "This melancholy take on the Frankenstein story should play well with horror buffs who prefer character conflict to rampaging creatures and gore, but its low-key virtues make break-out appeal unlikely." Michael Rechtshaffen of the Los Angeles Times called it "a technically impressive but talky sci-fi drama that never quite comes to life". Joe Friar of the Victoria Advocate wrote, "The lack of tension proves to be the movie's weakness and at times it feels like the little brother to the excellent 2004 film Primer".
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The Exorcist III initially received mixed reviews from critics. Review aggregate website Rotten Tomatoes has reported that 59% of critics gave the film positive write-ups based on 41 reviews, with a rating of 5.43/10, with the consensus: "The Exorcist III is a talky, literary sequel with some scary moments that rival anything from the original".. British film critic Mark Kermode called it "a restrained, haunting chiller which stimulates the adrenaline and intellect alike", and New York Times reviewer Vincent Canby said "The Exorcist III is a better and funnier (intentionally) movie than either of its predecessors". Critic Brian McKay of efilmcritic.com remarked that the movie is "not quite as chilling as the first story" yet "is at least a quality sequel", being worth watching but suffering from many "uneven" aspects.
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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.
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The review was later moved from Maltin's annual guidebook that included recent movies into Leonard Maltin's Classic Movie Guide: From the Silent Era through 1965, 2nd edition (2010), Plume, . Bruce Eder from AllMovie panned the film, writing, "The sheer badness of Dan Milner's From Hell It Came is mitigated ever so slightly by the efforts of Paul Blaisdell, who created the vengeful tree-creature called the Tabonga... All of which leaves ridiculously campy fun as the sole reason to watch this very mildly entertaining misfire, which is funnier in the telling than the watching". On his website Fantastic Movie Musings and Ramblings, Dave Sindelar criticized the monster design and called the film "slow, talky, confusing, and badly acted". TV Guide awarded the film 2 out of 5 stars, calling it "silly" and "really goofy".
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On Rotten Tomatoes, the film holds an approval rating of 0% based on 7 reviews, with a weighted average rating of 2.6/10. Tom Buckley's review in The New York Times called it "a cut or two above the recent run of low-budget horror films" and praised the work of "an attractive and professional cast, a rarity in the genre", but noted that it was "undermined by plodding direction and a talky and incoherent script that is short on action, suspense and even the gore that the title promises". Buckley also criticized the cinematography, which he called "oddly blurry, as though someone had coated the lens with vaseline". AllMovie's review noted: "The potential for campy fun in this premise is defeated by a completely straight, plodding detective story".
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" Time Out Chicago Kris Vire called the play "a compact, stunning gut punch addressing the cultural affinities some of us are allowed to escape and those we aren't." However, Chicago Sun-Times critic Hedy Weiss noted that the plays five characters were all "identity-warped", and the show was a "minefield... that feels all too deliberately booby-trapped by the playwright." The play won the Jeff Award—honoring excellence in Chicago Theater—for Best New Play in Chicago 2012. Entertainment Weekly critic Thom Geier suggested that the ending was underdeveloped, but that the play was well-executed: "Akhtar packs a lot into his scenes, in terms of both coincidence-heavy personal drama and talky disquisitions on religion and politics, but he usually manages to pull back from the edge of too-muchness.
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Having been a horror fan since his childhood, Mancini's inspiration for Child's Play were films like Trilogy of Terror and the "Talky Tina" episode of The Twilight Zone, stating that he knew the killer doll trope, but realized it had never been done as a feature-length film in the age of animatronics. As a film student at UCLA in the mid-1980s, Mancini was amused by the hysteria surrounding the Cabbage Patch Kids, and that the ubiquitous, slightly homely dolls were disappearing from toy shelves and prompting physical fights between parents. Mancini's father had worked in the advertising industry all his life, and he knew how effective marketing could result in consumer bedlam. Based on this, Mancini wanted to write a dark satire about how marketing affected children, with his first effort being as the co-writer of Child's Play (1988).
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In their retrospective review, AllMovie wrote "While I Vampiri is more important for its place in history than for it ultimate effectiveness as a film, it is nevertheless an entertaining horror flick." Danny Shipka, who discussed this film in his book on European exploitation films, noted that the film "set the standard for visual style that would be the foundation for most Italian gothic films of this nature." He also described the film as "a little ponderous and talky" while praising Canale's transformation scenes and the "masterful filming of cobwebs, creaking doors, and decay, along with great lighting". IGN wrote that "anyone interested in the history of [Italian horror cinema] should see the film" and that the film was "showing its age and is incredibly tame compared with the gore shockers that Italy would eventually become famous for".
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The staff of Variety liked the acting but believed the screenplay was problematic. They wrote, "As interpreted by producer-director Otto Preminger and scripter Wendell Mayes, Advise and Consent is intermittently well dialogued and too talky, and, strangely, arrested in its development and illogical... Preminger has endowed his production with wholly capable performers... The characterizations come through with fine clarity." The film critic for The New York Times, Bosley Crowther, did not like the storyline of the script, writing, "Without even giving the appearance of trying to be accurate and fair about the existence of a reasonable balance of good men and rogues in government, Mr. Preminger and Wendell Mayes, his writer, taking their cue from Mr. Drury's book, have loaded their drama with rascals to show the types in Washington." Crowther also was bothered by the use of the homosexual affair.
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By the end of April 2003, Harmony had acquired an 85% interest in Abelle and declared the offer closed.Harmony Gold Offer Unconditional & Closed Abelle ASX announcement, published: 1 May 2003, accessed: 21 January 2010 The purchase of a controlling interest in Abelle cost Harmony A$155 million and was primarily carried out to acquire Abelle's gold mining projects in Papua New Guinea. The driving forces behind Abelle Limited, Sydney businessmen Peter Cook and Peter Newton, earlier had also sold another gold mining company to Harmony, Hill 50 Gold, for A$233 million in 2002.Bluestone bet for tinny punters The Sydney Morning Herald, published: 5 August 2004, accessed: 21 January 2010The CRW (Crikey Revised Wealth) Rich List - Peter “Talky” Newton crikey.com.au, accessed: 20 January 2010 Abelle was delisted from the Australian Securities Exchange on 2 July 2004, following a compulsory acquisition by Harmony.
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The film did not receive any substantial reviews when it was first released in 1989, but subsequently it became a more popular target of analysis in specialty publications. It received two stars from film critic Leonard Maltin, who commented that Paul's Prospero was "more thoughtful and troubled" but also that "despite an interesting approach to the figure of the Red Death and a literate (if talky) script, overall cheapness and very slow pace cripple this medieval melodrama." The Overlook Film Encyclopedia of Horror commended Tracy Reiner's performance in her role as Prospero's sister Lucrecia, but criticised the film: "The grandeur and elegance of Corman's earlier film are missing: in their place is plentiful dialogue about the cruelty of God and Death and the behavior of princes." In comparison to the 1964 version, the depiction of Prospero is described as more "troubled and thoughtful" but the role of Death has been criticized as appearing more "literate" and "verbose", attributes which, according to the critics, impact adversely the plot delivery and suspense of the film.
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