The movies also happen to be pretty entertaining in a guilty
pleasure kind of way, and it'll be great to see the whole cast reunited for the first time since they all went their separate ways to become big movie stars.
Overall I had a fun time with Unsolved in a guilty
pleasure kind of way.
Not exact matches
Pollan amazes me again and again, not just with his often beautiful prose (the
kind of writing where you stop and reread a passage just for the
pleasure of it) but with his ingenious
way of looking at things, such as exploring how a corn plant manipulates humans, rather than the other
way around.
It tells you where everything is it every moment and you are supposed to be able to, it gives you all the tea leaves that you could read; but I went from that just the same
way the rest
of human history went
of being interested in that
kind of pseudoscience to actually seeing the
pleasure in actual science, and the utility
of it, too.
So he gets these exotic plants — and in some cases nobody has seen the pollinator — but he is able to predict what the pollinator is like just by looking at the structure
of the plant; and this, in a
way, is
kind of [an] independent test
of his theory and a very amusing one and is one that will also get him a lot
of pleasure.
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I think just the
way to get over that is to realize that sex is for your
pleasure, and to just
kind of... It's reprogramming the mind, really, and realizing you're not going to hell.
I think that we have such a limited view
of what
kind of pleasure we can have from sex, because we have sex the same
way typically over and over and over again.
The
pleasure of A Quiet Place is in John Krasinski's commitment to imagining the resourceful
ways in which a family might survive in this
kind of world, then bearing witness to the filmmaker's skillfully constructed methods
of putting them to the ultimate test, relentlessly breaking down all
of the walls the family has erected to keep the monsters out.
The
pleasure of A Quiet Place is in Krasinski's commitment to imagining the resourceful
ways in which a family like this might survive in this
kind of world, then bearing witness to the filmmaker's skillfully constructed methods
of putting them to the ultimate test, relentlessly breaking down all
of the walls the family has erected to keep the monsters out.
And while the movie is extremely violent (without much blood), he does find clever
ways to show violence, and even seems to be commenting on the cinematic
pleasure of seeing well - orchestrated, creative, gleefully over-the-top fights in films as a
kind of catharsis.
One
of the enormous and incidental
pleasures of Andrew Haigh's superlative drama 45 Years is the
way it presents us with two superb actors absorbed in the
kind of roles and script that don't come along too often.
This does not have to happen anymore and for me, wow, what a
pleasure and relief to finally be able to suggest and recommend to my friends and clients a
way to find a quality home builder, or a contractor specializing in all
kinds of additions and renovations, a man
of his word, and a luxury home builder who stands behind his work.
Thank you so so much, it is very
kind of you to put this out there for us poor but talented invididuals who have the
pleasure of doing things the long and hard
way (but
of course more rewarding
way)!
Instead and pressingly, even with wild up and downs, flaws and all, the 2017 Whitney Biennial is the best
of its
kind in some time for the multiple
ways it reveals how — selected as it is, without overdetermined political and aesthetic dogma, and curators remaining open to the exigencies
of pleasure and the mysterious
ways that art mutates but doesn't play catch - up — a show
of artists simply at work, whether making expressionistic paintings, idiosyncratic functional constructions, casting the further shores
of socially activist conceptualism, or documenting collapsing ecosystems or family dynamics — that artists are always addressing and channeling issues
of the day.
I was interested in the
way that the film moved between expressions
of pleasure, pain, rage, and humor to offer a
kind of collective portrait
of black gay life, one that was and arguably continues to be almost absent in mainstream media and popular culture.
Call us masochists, but we take
pleasure in this
kind of thing, not least because — another internal conflict — usually there's some nice bright colour to bathe in along the
way.