Some people would make repair
attempts in a beautiful way, and their partner just couldn't hear it.
Some people would make repair
attempts in a beautiful way, and their partners just couldn't hear it.
Not exact matches
It fits
in so deeply with the Faith of the Church, takes
in the
beautiful teaching of the Fathers from early Christianity, and also tries to makes sense of modern science,
in much the same
way as St Thomas Aquinas
attempted to do
in the thirteenth century.
OK, the candy selection has a bigger bearing on your success than other factors, but still, everything about potty training — how long it takes, what setbacks you suffer, what specific parts of it present the biggest challenge, exactly which surfaces you find yourself scrubbing human feces off of — is more or less determined by your child, and the
beautiful, unique
ways in which they are innately programmed to dissolve your barely - there sanity during your
attempts to rid yourself of the task of dealing with their sh*t.
Much of the film is as strange and oddly
beautiful as one of Arbus» own photographs, bold
in its
attempt to find new
ways of cracking the biopic chestnut and sensitive
in its portrayal of a 1950s woman who, like so many of her contemporaries, finds herself imprisoned
in a «Good Housekeeping» nightmare.
mmm... a protagonist who complete dominates a long film to the detriment of context and the other players
in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's
attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is
way too stylised,
beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction
The characters act
in the
way you expect, and despite Cianfrance's
attempts to layer the film with long, sweeping moments and
beautiful cinematography, it doesn't do much to elevate the story into something more unique, or at least more riveting.
It's a
beautiful star performance, perfectly nailing the self - consciousness of youth,
in ways both amusing (her
attempts at flirting are tragically you - come - here - often labored) and touching.
Combined with an understated yet
beautiful score by Nathan Halpern, The Rider confirms Zhao as one of the great new American directors, looking at the lives of people too often ignored
in cinema, and
in a
way too often not
attempted.
This feeling was roused ever - so - slightly by a Gotham Awards news recap: «We just felt very lucky that we came across this
beautiful story» went the Granik quote
in a brief Times dispatch from the ceremony — on its face a gracious thing to say, but something that can also be seen as an
attempt by the director to distance herself from the material, as if she were only the conduit through which the real essence of the backwoods locations passed, and not a force active
in shaping the
way in which they were depicted.