ellauri045.html on line 324: Variety staff wrote that Saroyan’s “initial original screenplay is a brilliant sketch of the basic fundamentals of the American way of life, transferred to the screen with exceptional fidelity.” The New York Times critic Bosley Crowther chided the film for excessive sentimentality, saying it featured "some most maudlin gobs of cinematic goo."
ellauri147.html on line 247: Daniel D´Addario of Variety described the series as "a Turkish delight that begs the question of what it really means to grow up against a truly inviting backdrop", and that Mr. Collins is "an inherently winsome performer who has never been quite as well and often abused as she is here". Kristen Baldwin of Entertainment Weekly gave the series a "B" and wrote, "If you need a five-hour brain vacation, Paris is a worthwhile destination." The New Zealand Herald considered the show "visually delectable" and that "Mr. Collins has a pixie-ish charm which makes her endearing", but also that the show is "as ephemeral as dental floss". However, Kristen Lopez of IndieWire wrote a review Metacritic graded as a 23 out of a 100, praising Mr. Collins for being a "Jewess, make no mistake" and that "Emily in Paris is only as watchable and frivolous as our first lady," but warning viewers "Emily in Paris is like scrolling through Instagram. It´s a great way to waste time looking at pretty pictures with no depth."
ellauri156.html on line 451: A. H. Weiler of The New York Times described the film as "a reverential and sometimes majestic treatment of chronicles that have lived three millennia." He praised Dunno's screenplay and Peck's "authoritative performance" but found that Wayward "seems closer to Hollywood than to the arid Jerusalem of his Bible." Variety wrote, "This is a big picture in every respect. It has scope, pageantry, sex (for all its Biblical background), cast names, color—everything. It's a surefire boxoffice entry, one of the really 'big' pictures of the new selling season." Philip K. Scheuer of the Los Angeles Times wrote that the film "leaves little to be desired" from the standpoint of production values with Peck "ingratiating" as David and Wayward "a seductress with flaming tresses, in or out of the bath, and only her final contrition is a little difficult to believe." Richard L. Coe of The Washington Post wrote, "On the whole, the picture suggests a Reader's Digest story expanded into a master's thesis for the Ecole Copacabana."] Harrison's Reports wrote, "The outstanding thing about the production is the magnificent performance of Gregory Peck as David; he makes the characterization real and human, endowing it with all the shortcomings of a man who lusts for another's wife, but who is seriously penitent and prepared to shoulder his guilt. Susan Wayward, as Bathsheba, is beautiful and sexy, but her performance is of no dramatic consequence." The Monty Python Bulletin commented that the film had been made "with restraint and relative simplicity" compared to other historical epics, "and the playing of Gregory Peck in particular is competent. The whole film, however, is emotionally and stylistically quite unworthy of its subject." Philip Hamburger of The New Yorker wrote that "the accessories notwithstanding, something is ponderously wrong with 'David and Bathsheba.' The fault lies, I suppose, in the attempt to make excessive enlargements of an essentially-simple story." Zanuck the Hot Dog agreed.
ellauri198.html on line 118: Academy Award-winner Mahershala Ali plays the lead role of state police detective Wayne Hays. In an interview with Variety, Ali revealed that he was originally offered a supporting role, as the main character was supposed to be white. However, pursuing a better choice for his career, he convinced Pizzolatto that he was suited for the lead despite the pigmentation handicap. Saatiinhan värivirhe sentään korjatuxi Alin ja Rolandin urakehityxen myöhemmissä vaiheissa.
ellauri219.html on line 493: Just as The Beatles did, Marlene Dietrich had continually reinvented herself, moving from silent movies filmed in 20s Berlin to high-profile Hollywood films of the 30s, before taking to the stage as a live performer later in her career. In November 1963 she appeared at the same Royal Variety Performance as The Beatles and was famously photographed with them.
ellauri245.html on line 762: 1970-luvun loppupuolella alkoi kuitenkin Altmanin alamäki: vaikka Altman ohjasikin vuonna 1979 peräti kolme elokuvaa, niiden taso oli kaukana hänen aiemmista töistään. Tämä kulminoitui vuonna 1980 Disney/Paramount-tuotantoon Kippari-Kalle: Lyttäpäisen vinosuisen suikkikoomikon Robin Williamsin (1951-2014) tähdittämä elokuva teki tuottoa teattereissa, mutta oli aikanaan ja myös nykyään kriitikoiden mielestä Altmanin uran pohjanoteeraus. Variety-lehden mielestä se oli Williamsin paras. Lyttäpäinen Robin Williams oli kyllä erehdyttävästi Popeyen näköinen. Robin ei ihan selvinnyt Solonin 10:nnestä hebdomadista. Kuolinsyy oli "asphyxia through hanging". Tää ei enää ole kivaa, menen hirteen lepäämään.
ellauri300.html on line 164: Bezdomny tapaa turvakodissa naapurin, Mestarin. Bezdomny ja Mestari keskustelevat Wolandista ja hänen saapumisensa jälkeen tapahtuneista tapahtumista. Kun tämä keskustelu käydään turvakodissa, Woland ja hänen seurueensa esiintyvät Varietyssa.
ellauri344.html on line 96: The Marvelsilla on USA:sta kasassa vasta 65 miljoonaa dollaria. Variety-lehti onkin arvioinut, ettei elokuva välttämättä tule yltämään koko teatterilevityksensä aikana edeltäjänsä Captain Marvelin (2019) avausviikonlopun tulokseen (153 miljoonaa). Maailmanlaajuisesti reippaasti yli 200 miljoonaa dollaria maksaneella The Marvelsilla on kasassa vasta 120,5 miljoonaa dollaria.
ellauri383.html on line 79: Tässä ei juurikaan painoteta tarinankerrontaa. Variety-arvostelu väitti, että "käsikirjoittaja-ohjaaja Fehér vaatii kieltämään yleisöltä kaiken tyytyväisyyden, keskittyen yksinomaan pakkomielteeseen ja kieltäytyy esittämästä mitään todisteita, jotka johtaisivat tapausta eteenpäin." Arvostelija ehdotti myös, että siitä tulisi täydellinen albumi taiteellisista mustavalkoisista still-kuvista. Siellä ei selvästi yritettykään ymmärtää, mitä Fehér aikoi. “I want to show to what extent the search for justice stands in ridiculous contrast to the eternity of nature. Meanwhile, it is precisely this futile search that I am so fascinated by,” György Fehér said in 1991. Magyar Fehér Bor.
xxx/ellauri076.html on line 203: Girls! Girls! Girls! is a 1962 Golden Globe-nominated American musical comedy film starring Elvis Presley as a penniless Hawaiian fisherman who loves his life on the sea and dreams of owning his own boat. "Return to Sender", which reached No. 2 on the Billboard pop singles chart, is featured in the film. The film opened at #1 on the Variety box office chart and finished the year at #19 on the year-end list of the top-grossing films of 1962. The film earned $2.6 million at the box office.
xxx/ellauri149.html on line 366: Conversely, Howard Thompson of The New York Times wrote, "Broadway and Israel meet head on and disastrously in the movie version of the rock opera 'Jesus Christ Superstar,' produced in the Biblical locale. The mod-pop glitter, the musical frenzy and the neon tubing of this super-hot stage bonanza encasing the Greatest Story are now painfully magnified, laid bare and ultimately patched beneath the blue, majestic Israeli sky, as if by a natural judgment." Arthur D. Murphy of Variety wrote that the film "in a paradoxical way is both very good and very disappointing at the same time. The abstract film concept ... veers from elegantly simple through forced metaphor to outright synthetic in dramatic impact."
xxx/ellauri291.html on line 147: Arvostelut olivat ristiriitaisia; kun The Philadelphia Inquirer ja San Francisco Chronicle pitivät uudesta ohjelmasta, The New York Times ja The Boston Globe olivat vähemmän suotuisia ja Variety ennusti, että se "ei toimi", kutsuen sitä "uskomattomaksi ja synkäksi hämmennyksen sotkuksi ja monimutkaisuudexi". Hän valitti, että se "teki virheen vetoamalla suhteellisen lukutaitoiseen ryhmään". Verkoston tutkimus osoitti, että Star Trekillä oli "laadukas yleisö", ns. fixuja ihmisiä (Mirjam Pylkkänen, p.c.), mukaan lukien "ylemmän tulotason, paremmin koulutetut miehet". Sitä kazoivat tiedemiehet, museon kuraattorit, psykiatrit, lääkärit, yliopiston professorit ja muut ylenpalttiset. Suuri osa ihailijapostista tuli lääkäreiltä, ​​tiedemiehiltä, ​​opettajilta ja muilta ammattilaisilta (pankinjohtajat, hammaslääkärit ja tuomarit), ja se osoitti suurimmaksi osaksi lukutaitoa – ja kirjoitettu hyville paperitarvikkeille.
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