Sentences with phrase «never pretentious»

Always professional and never pretentious, Garces Law is here to resolve your legal needs.

His happenings are never pretentious but purely enjoyable, transgressive, and to the core of what makes him an artist — affecting his audience on many levels.

It wears its influences on its sleeves, and it's never pretentious about what it is.

Attentive and professional, yet never pretentious, this unparalleled level of service draws on traditions of gracious hospitality from eras past.

Symbol - heavy but never pretentious or preachy, the film follows a traditional path — she is betrayed, she is underestimated, she repays her assailants for their toxic masculinity.

With design details to echo the beautiful surrounding landscape, the atmosphere at Jacks Monterey promises to be sophisticated — never pretentious.

Not exact matches

whether for the right or wrong reasons, our leader chose to stay on when things took a turn of sorts... a new owner arrived on the scene, plans for a new stadium emerged and Wenger became the bearer of bad news... he sold us on a new story, one that required patience on our parts... financial constraints were the order of the day, so that the enormous sums spent on the new venue could be recouped... although some would question the validity of such claims, why wouldn't they believe their faithful leader... according to those within the hierarchy, the future never looked so bright, as this new home would ensure our place among the elites for years to come... as we all know now these claims were a well constructed fabrication and so those who feel they were duped in the process are infuriated and rightly so... the fact that this club and it's manager have continually misled the fans, especially following Gazidis's claims about our financial liquidity, simply rubbed more salt in an already gaping wound... this surely isn't how you treat your «family», especially when they supported you through the supposed «lean» years... it was a dirty trick played by Kroenke but the fact is was orchestrated by Wenger himself hurt the most... as for those in the media, many of whom are former players or longtime pundits, who observed the early years firsthand, saw this as the perfect opportunity to vent the anger they felt towards this pretentious man once and for all... all in all, karma's a bitch

I've been searching for a statement t - shirt for a really long time but as I'm really pretentious to text, I ended up never buying one as I never found one that would express my thoughts.

Pretentious bit of navel gazing is slow moving but okay until Segal's character crosses a line from which the movie never recovers.

The most prominent characters include Haven Hamilton (Henry Gibson), a socially conservative, arrogant country music star; Linnea Reese (Lily Tomlin), a gospel singer and mother of two deaf children; Del Reese (Ned Beatty), her lawyer husband and Hamilton's legal representative, who works as the local political organizer for the Tea Party - like Hal Philip Walker Presidential campaign; Opal (Geraldine Chaplin), an insufferably garrulous and pretentious BBC Radio reporter on assignment in Nashville, or so she claims; talented but self - involved sex - addict Tom Frank (Keith Carradine), one - third of a moderately successful folk trio who's anxious to launch a solo career; John Triplette (Michael Murphy), the duplicitous campaign consultant who condescendingly tries to secure top Nashville stars to perform at a nationally - syndicated campaign rally; Barbara Jean (Ronee Blakley), the emotionally - fragile, beloved Loretta Lynn - like country star recovering from a burn accident; Barnett (Allen Garfield), Barbara Jean's overwhelmed manager - husband; Mr. Green (Keenan Wynn), whose never - seen ailing wife is on the same hospital ward as Barbara Jean; groupie Martha (Shelley Duvall), Green's niece, ostensibly there to visit her ailing aunt but so personally irresponsible that she instead spends all her time picking up men; Pfc. Glenn Kelly (Scott Glenn), who claims his mother saved Barbara Jean's life but who mostly seems obsessed with the country music star; Sueleen Gay (Gwen Welles), a waitress longing for country music fame, despite her vacuous talent; Bill and Mary (Allan F. Nicholls and Cristina Raines), the other two - thirds of Tom's folk act, whose ambition overrides constant personal rancor; Winifred (Barbara Harris), another would - be singer - songwriter, fleeing to Nashville from her working - class husband, Star (Bert Remsen); Kenny Frasier (David Hayward), a loner who rents a room from Mr. Green and carries around a violin case; Bud Hamilton (Dave Peel), the gentle, loyal son of the abrasive Hamilton; Connie White (Karen Black), a glamorous country star who is a last - minute substitute for Barbara Jean at the Grand Old Opry; Wade Cooley (Robert DoQui), a cook at the airport restaurant where Sueleen works as a waitress and who tries unsuccessfully to convince her that she has no talent; and the eccentric Tricycle Man (Jeff Goldblum), who rides around in a three - wheel motorcycle, occasionally interacting with the other characters, showing off his amateur magic tricks, but who has no dialogue.

Kaufman's script is never especially clever and often is rather pretentious.

The first hour of the movie is virtually unwatchable, with Braff oddly sprinkling in fantasy sci - fi sequences that are supposed to convey the character's inner - life, but never really add anything to the film other than make it feel alternately goofy and pretentious.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

A game cast quite literally gives the film their all but it's hard to ignore the ugly treatment its leading lady receives, coupled with a story that — though open to multiple interpretations — never rises above a pretentious and scummy tale of male exploitation of women, both on and off - screen.

The Hateful Eight opens with an unavoidably pretentious but nonetheless sublime musical overture that gives centre stage to Ennio Morricone's suspenseful original score — the majority of which was written for John Carpenter's The Thing back in 1982 but never used — which is more Hitchcock in tone than Leone.

The camera work is solid, never becoming pretentious or arty, and the mix of black and white and colour works well.

September 11 will never be forgotten; and Hollywood has tried to capitalize on the event through numerous films over the years — the best of which was Paul Greengrass» United 93 — but try as they have, none fully understand the cataclysmic event and either use it to display pretentious idealism (Oliver Stone's World Trade Center), or faux sentiment (Remember Me, Reign Over Me, and Dear John).

Youre one of the few podcasts about film that never turned pretentious!

July's film is also different from Hawaii, Oslo in that it never outstayed its welcome — whenever I feared that it was about to get pretentious it moved on to the next charming scene.

Hux spouts off pompous, pretentious threats about how many different ways he is going to destroy the rebellion, and Poe just trolls him while the rebels gear up for their traditional - but - never - old trick of being quick and cunning instead of enormous and cumbersome.

Robert Eggers is talented, and yet you'd never know it based on this comically experimental, unreasonably pretentious cinematic trainwreck.

The Witch: A New - England Folk Tale: There's no denying that filmmaker Robert Eggers is talented, and yet you'd never know it based on this comically experimental, unreasonably pretentious cinematic trainwreck.

Director Jaco Van Dormael has infused Mr. Nobody with an unapologetically arty and downright pretentious sensibility that's reflected in virtually every frame, as the far - from - linear storyline tracks the important events in Mr. Nobody's life - yet it's the emphasis on events that may never have even happened that's sure to infuriate certain viewers (ie if you're not willing to go with the premise almost immediately, Mr. Nobody will undoubtedly come off as a long slog indeed).

The best part about The Spectacular Now is that, despite playing along with the normal self - absorbed trappings of sensitive teen movies, its sentiment never feels overly cloying or pretentious.

As scripted by Gerwig (nailing teen cadence) and toplined by a never - better Ronan, Lady Bird is a delicious, recognisable creature of contradictions: pretentious and sweet, blind - sided and clear - eyed, a cliché and a firebrand.

-- a heinous, pretentious woman who never says a nice word about anyone.

You'll probably hate it, and end up talking about how pretentious or over-hyped it is on a forum, which interestingly means you've become part of what it's all about, a never - ending discussion on what is and is not art, and whether something so personal and open to interpretation is genius or bullshit.

It seems like it's tailor - made to give you a headache, but it never comes off as needlessly intimidating or pretentious.

Legacy is a word that is seldom used nowadays; the word has never constructed itself into an oversaturated, pretentious connotation and the vast, vigorous world of gaming haven't the shortage of premium, quality titles that embody the potential and sheer definition of a legacy.

The best part of all this is that all the while playing through Bravely Default never feels repetitive or pretentious.

Earth, nature, process, and eternity sounds natural, too, but also pretentious, and that is perhaps the lasting point: she never leaves the stage, even when one can not see her.

Secondly, my sales and recommendations are NEVER based on commission, nor would I ever allow myself to convince my clients to buy an overpriced or oversized pretentious property, unless this is what they want as an end user.

A non pretentious Italian eatery but a meal you'll never forget.»