But it's intellectually uninvolving, and its technical limitations prove frustrating.
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" The Washington Post wrote that it's "overstuffed, overlong, and utterly uninvolving.
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At its lowest points, the series has rarely been this fussily uninvolving.
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It's dumb and uninvolving, a collection of ugly sentiments served via clumsy dialogue.
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What we do see is uninvolving, and all too easy to forget. PG-13.
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Alas, "Private Manning" is surprisingly uninvolving, despite hitting so many hot buttons at once.
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With this uninvolving, incoherently told story, why should they care about bringing their "A" game?
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But I felt trapped between how simultaneously interesting and uninvolving I found the show to be.
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But the heavy use of spy tropes only emphasizes how inert and uninvolving the tale is.
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Unlovely and uninvolving, "Level Up" is a running-man cocktail of brutality spiked with low-level humor.
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Wendy has her moments, certainly, but she remains frustratingly undeveloped and uninvolving, despite the clamor and the score's triumphalism.
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One of the reasons The BFG feels so uninvolving early on is that it initially doesn't have much of a reason to exist.
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Its controls are resolutely poor, its systems both fussy yet uninvolving, and it fights my intentions so stubbornly that I'm frequently reminded of QWOP.
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That scenes comes nearly two-thirds into an otherwise drab, uninvolving film that overdoses on schmaltzy melodrama, yet comes up well short of any tension, let alone pleasant amusement.
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There's so little at stake in "Alita: Battle Angel" that it blurs into uninvolving spasms of visual and aural noise as it lurches to the cliffhanger ending, a setup for promised sequels.
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They aren't given much character depth, though, which leaves the saga's romantic entanglements uninvolving, especially against all the other current series working the power-and-sex dynamic, whether ancient, midcentury or present-day.
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The company's weeklong residency in London — its first outside Russia with this repertoire — included a Chekhov title (a willfully uninvolving version of "The Cherry Orchard") that might be anticipated from a Russian troupe.
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After a period of "producing nothingness," listening to Amada's collection of classical LPs and conducting an emotionally uninvolving affair with a local married woman, the narrator finds one of Amada's paintings rolled up in the attic.
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This leaves Thrones of Britannia feeling like little more than a territory-acquisition game, which is perhaps always the essence of a Total War game, but never before has the process of empire-building felt so hands-off and uninvolving.
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With this play as the world's shared property — as close to a central text as we have, its characters and key lines known to so many — Mr. Dean's opera abstracts it into a kind of ritual: elegant, sober and intellectually stimulating, yet strangely uninvolving emotionally.
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Despite the tragic circumstances that set the plot in motion -- when a young boy loses his mother in an explosion at a New York museum, before making off with the painting of the title -- the coming-of-age tale unfolds at an uninvolving pace.
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The situation remained basically unchanged, and the bizarro-world, role-reversed parenting equation the show has built, with the teenage daughter suspicious of her parents, remains uninvolving partly because 18-year-old Holly Taylor hasn't grown along with her role across four seasons of playing Paige.
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11 on their list titled "20 Best: Goth Records Ever Made". In negative retrospective reviews, AllMusic believed the album had a "lack of cohesion and direction", while Trouser Press wrote that it "suffers from an uninvolving lethargy".
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Paul Attanasio of The Washington Post called it "an artfully crafted movie, thrumming with energy and sometimes wit, and utterly uninvolving for anyone over the age of 12."Attanasio, Paul (June 7, 1985). "'Goonies': It's Assembly- Line Spielberg".
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Postcards from America. Variety, 19 September 1994. Accessed 4 July 2020. In a review for The Advocate, Emanuel Levy concluded that Postcards "a dispassionate, uninvolving film" that "may be drenched in too much style, making the experience even more fractured and remote."Levy.
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LoveHKFilm gave the film a negative review criticizing Manfred Wong's script as "overstuffed, underdeveloped, and embarrassing" and its "failed attempt" at charm and humor. Andrew Saroch of Far East Films gacve the film a score of 3 out of 5 stars criticizing its uninvolving romances and characters, poor camerawok, but praises some of its special effects.
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Music's Sharon O'Connell, who wrote that despite the intelligent songs with expertise in "muscly, alt. rock lick or the bubblegum pop hook", Bleed Like Me "strikes a depressingly dated note". Writing for The A.V. Club, Nathan Rabin said the album's lyrics lacked an emotional punch. He wrote stating that it "approaches a kind of shimmering technical perfection, but remains strangely, stubbornly uninvolving".
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" A RogerEbert review stated: "The message gets muddled with plot strands going every which way, though the real culprit is some awkward animation." Review at Movie Mom stated the movie was lackluster by stating, "The vocal performances are uninspired and uninvolving. And the one effect that words, a 360 degree swoop-around, is relentlessly overused. The script is muddled and dull.
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In another positive review, Eric Allen of American Songwriter stated that while the album seems to be extremely dissimilar in the first listen, Brendon Urie's personal lyrics thematically tie them all together. In a mixed review, Jordan Blum of PopMatters wrote that the album felt like a continuation of Vices & Virtues and came off as obnoxious, generic, and too uninvolving to listen to.
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Retrieved: 26 May 2019. Laura Bushell of BBCi Films called the film a "... looping tale of love and loss in WWII which is so old fashioned in its aspirations, it's hard to see why new audiences would flock to see it." Joe Leydon in his Variety review, called the film "... decades-skipping schmaltz" and an "aggressively bittersweet yet oddly uninvolving drama."Leydon, Joe.
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140 Many of Waugh's friends and admirers gave the book unstinting praise, among them Rebecca West, Lady Diana Cooper, Desmond MacCarthy and Hilaire Belloc. Among those less enthusiastic were the novelist J.B. Priestley, who found the characters lightweight and uninvolving, and the devoutly Catholic Katharine Asquith who thought the writing was brilliant but the subject-matter deeply depressing. The novel's critical standing grew steadily in the years following its publication.
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Critical response to The Legend of Big Paw was negative during its theatrical run. The Hollywood trade magazine, Variety, called it "uninvolving and endlessly derivative". The Sacramento Bee deemed it "miserably drawn" in comparison to what Disney was offering at the time, and the San Francisco Chronicle gave it an "empty chair" rating. A reviewer in the Detroit Free Press found it "dull and unoriginal", but praised the songs that were written for it.
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In a 1983 book review, Kirkus Reviews remarked the book contained "well-written, artful descriptions. . . yet also drawing away to show us the frame like an announcer's binding narration" and noted that "only occasionally can [Hansen] get tension into this documentary approach; and the zooms between close-up and voice-over soon become predictable and sapping. Thoughtful, artful reconstruction—yet largely uninvolving." The novel made the short list for the 1984 PEN/Faulkner Award.
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A gang murders and schemes to control a remote Montana national park with resources (apparently helium) that will be vital in any upcoming war. The mastermind's strategy is to convince key figures, including Congressmen, that they are seeing things, and to threaten to publicly expose this apparent insanity. The apparition is a remarkably uninvolving small red man leading a smiling green dog, etc.; one of the blackmail targets throws a chair at the small man, which seems about right.
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Writer-director David Gordon Green, in his feature debut, has created a visually and emotionally consistent universe." Rolling Stones Peter Travers called David Gordon Green "a writer and director of rare grace and feeling", whose directorial debut is of "startling originality that will haunt you for a good, long time." Joe Leydon of Variety was one of ten critics (out of 56) to give the film a negative review, calling it an "... undistinguished and uninvolving attempt to offer a rural spin on Kids.
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Only it's got the most nonsensical way to tell it." Nandani Ramnath of Scroll.in calls the film a "tedious affair from start to finish." Ramnath found the scope of the film unimpressive, stating: "There is barely a moment of relief from the tedium of watching the leads go through the motions and tuning into the poorly written dialogue and endlessly uninvolving moments." She was particularly critical of Kapoor, who she said "flubs all his scenes, whether romantic or nationalistic (what’s a movie set on foreign soul without a speech celebrating the wonders of the homeland?).
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The leads drew good notices, but most agreed that DaCosta's book and direction resulted in a slow-moving, uninvolving production. The main characters were unlikeable, their romance dull, and too many peripheral characters wandered in and out of the action. Show Boat, with its riverboat setting, had been a natural for musical adaptation, and whereas Oscar Hammerstein II and Jerome Kern had succeeded in compressing the epic into a lively stage production, the creative team behind Saratoga was unable to wring much excitement from a romantic relationship stemming primarily from a mutual desire for vengeance.
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In the book, The Hong Kong Filmography, 1977–1997: A Reference Guide to 1,100 Films Produced by British Hong Kong Studios, John Charles gave the film a score of 6/10 and criticizes the under cranking but praises the choreography of the action scenes. Hong Kong Film Net gave the film a score of 7/10 and praises the film's stunt work while also noting the light expository scenes. Asian Film Strike gave the film a score of 2.5/5 praising the character, drama and action scenes, but criticizes its uninvolving plot and exploitative scenes.
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The film premiered on 7 October 2017 at the Haifa International Film Festival, and was theatrically released by Universal Pictures, on 13 October 2017 in the United Kingdom and 20 October 2017 in the United States. The film was box office bomb, grossing $43 million worldwide against a $35 million budget, and it was widely panned by critics, who called it "clichéd and uninvolving." Alfredson later attributed many of the film's problems to the film's rushed production schedule, claiming that 15-20% of the film's story was never shot.
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On review aggregator website Rotten Tomatoes, the film holds an approval rating of 24% based on 216 reviews, with an average rating of 4.49/10. The site's critical consensus reads, "Beautifully filmed yet mostly inert, The Goldfinch mishandles its source material, flattening a complex narrative into a largely uninvolving disappointment." On Metacritic, the film has a weighted average score of 40 out of 100, based on 41 critics, indicating "mixed or average reviews." Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.
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" Neil Smith of Total Film rated it 3/5 stars and called it "tense if rather monotonously bleak". Mark Adams of Screen Daily wrote, "An unrelentingly moody and claustrophobic three-handed thriller, Retreat is an assured and nicely staged debut from Carl Tibbetts that might feel all rather familiar but manages to keep the story suitably unpredictable and nicely paced." Damon Wise of Empire wrote that the performances make up for the story. David Nussair of Reel Film Reviews wrote that "Retreat inevitably (and lamentably) establishes itself as a generic and hopelessly uninvolving thriller that grows more and more tedious as it progresses.
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The animation is jumpy, the settings flat, the colors pretty but less than enchanting. The movie's strongest element is its storytelling, which is not only imaginative but also clear and smoothly paced." Kevin Thomas of Los Angeles Times opined the characters (especially the Prince) were "bland" and called the film's songs "instantly forgettable." Rita Kemple of The Washington Post derided the "inane" humor attempts as well as "badly drawn characters" and their "clumsy" animation.Rita Kempley, Happily Ever After, The Washington Post, May 29, 1993 Desert News' Chris Hicks similarly wrote, "Sadly, the animation here is weak, the gags even weaker and the story completely uninvolving.
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Janet Maslin of The New York Times said, "The film's style is so smugly stupid that it's hard to tell whether the creatures, dripping with primordial ooze, are any less attractive than the Puttermans" and also called the film "noisly [sic] campy without being the least bit clever." Variety dismissed it as "an uninvolving sci-fi thriller comedy that relies heavily for its shock value on gooey monster effects rather than cinematic finesse ... With the apparent intent of making some comments about our unnatural reliance on television, and technology in general, filmmakers have perhaps bit off too much.""Film Reviews: TerrorVision". Variety. February 12, 1986. 22.
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Rotten Tomatoes reports that 17% of six critics gave the film a positive review; the average rating is 3.8/10. Roger Ebert of the Chicago Sun-Times rated it 2/4 stars and wrote, "This is an overdirected and overedited film, in love with the technique of short cuts in which characters finish each other's sentences." John Anderson of the Los Angeles Times wrote that the film's premise is "ludicrous and perfect, since the film is basically about the uninvolving being obsessed with the uninteresting". Lawrence Van Gelder of The New York Times called it "a literate, funny film about men, women and the many mysteries of love in the 1990s".
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" He continued: "If Mayfair indeed felt compelled to add a simple hack-and-slasher to their RoleAids line, you'd think they'd have at least insisted on some new monsters or some new treasures or at least an interesting trap or two. Instead, we get the usual assortment of snoozers [...] the 'political intrigue' referred to in the introduction is little more than an uninvolving fluctuation of loyalties among some of the NPCs. Somebody ought to tell these guys that this approach to fantasy modules is hopelessly old-fashioned. Sure, it's got its place – it's a nice way to introduce young players to the hobby, if nothing else.
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What's the Worst That Could Happen? currently holds a 10% "rotten" rating on review aggregation website Rotten Tomatoes based on 98 reviews, with an average rating of 3.46/10, and the site's consensus stating: "(The t)alented cast is squandered by an uninvolving script filled with unfunny gags." Retrieved September 15, 2019 Another review aggregation website Metacritic, which assigns a normalized rating out of 100 from top mainstream critics, calculated a score of 37 based on 28 reviews. Retrieved February 28, 2015 Roger Ebert of the Chicago Sun-Times gave the film an unfavorable review, stating that there were "too many characters, not enough plot, and a disconnect between the two stars' acting styles".
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Uniformly well acted, it boasts a psychologically knowing script, clearly written by a smart, assertive human being rather than a software programme." Philip French of The Observer said, "The humour is forced, the shocking revelations too sudden and not altogether convincing, but it's enjoyable in an uninvolving way." Peter Bradshaw of The Guardian rated the film two out of five stars, calling it a "hugely overegged pudding of a film," "indulgent," "complacent," and "a film that is very pleased with itself." Trevor Johnston of Time Out London rated the film three out of five stars and commented: "No challenge to surmise where all this is heading, but there are pleasures to be had while it takes the scenic route.
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Brandon Harris of Filmmaker magazine wrote: “An array of impressive performances… the film is reminiscent of John Dahl’s early 90s thrillers Red Rock West and The Last Seduction.” Patrick Washington of The Dallas Weekly on Rushlights: “One of the best thrillers I’ve seen.” Mike Smith of Mediamikes gave the thriller 4/5stars writing: “Packed with genuine surprises and emotion… Stutz’s direction is clear and sharp.” Neil Genzlinger of The New York Times wrote: “When it comes to film plotting, too many twists results in an annoying tangle. And there are too many twists in Antoni Stutz’s uninvolving Rushlights.” On Rotten Tomatoes the film has an approval rating of 26% based on reviews from 19 critics, with average score of 4.19/10.
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On his website Fantastic Movie Musings and Ramblings, Dave Sindelar panned the film, criticizing the acting and stating that director Lewis "manages to make his movies look like home movies without giving them that air of verisimilitude that would make them believable". Dennis Schwartz of Ozus' World Movie Reviews gave Blood Feast a C grade, stating that it was "one of those really bad films that some take pleasure laughing at and others sneering at and others doing both". Allmovie's Fred Beldin wrote, "The plot is threadbare, the acting is on a par with the clumsiest of high school plays and the direction is static and uninvolving. Nevertheless, this is one of the important releases in film history, ushering in a new acceptance of explicit violence that was obviously just waiting to be exploited".
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David Johnson of DVD Verdict called the film "a generic action film with an uninvolving plot, stilted action sequences, [and] some shabby green screen work, predictable twists," adding: "Seagal doesn't distinguish himself from any other character he's ever played and there's not enough interesting stuff happening on the periphery to distract us."Shadow Man review , David Johnson, DVD Verdict, June 23rd, 2006 J. Andrew Hosack of JoBlo said, "The writing, story, action, and acting are all well below par," adding: "It boggles the mind how anyone remotely sensible would invest time and money in something like this."Shadow Man review, J. Andrew Hosack, JoBlo Seagalogy author Vern ranks it among Seagal's worst films, explaining that, "SHADOW MAN, I’m sorry to say, is the most boring movie Seagal has made so far," and criticizing the extensive use of body doubles and incoherent plot; but also says that the film "improves a little bit when you watch it again", and that its use of martial arts is a welcome change from his previous DTV films, which were light on martial arts fights.
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