Rogers Hornsby reviews??
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@Bozzman0109 said in Rogers Hornsby reviews??:
@SchnauzerFace said in Rogers Hornsby reviews??:
Review of "The Cat in the Hat" film
Written by: Rogers HornsbyLE DEUXIEME SOUFFLE, a Scandinavian Revival paradigmatic magnum opus from 1966, is incontrovertibly the animus for this insensate ruination; however, the sum of this profligate and bedaubed prodigality does not equiponderate that of the autochthonous Melvillesque enterprise in postwar modernism.
Bo Welch (THE HOBOKEN CHICKEN EMERGENCY, JOE VERSUS THE VOLCANO), notwithstanding this is your incipient photoplay, it is axiomatic that the juncture has transpired for you to be superannuated. You are a maladroit dilettante, and your potentiality to adumbrate the sequential narrative is precariously wanting. Anterior to undertaking an appurtenant fabrication, you ought be necessitated to perpend the efforts of Mauriac and Queneau, and might I suggest CASQUE DOR? This Kammerspiel is obloquy to physicality, and to that, I take great offense.
And what of the ethereal artifice, one might catechize? It subsumes utterly of a duo of contumacious progeny who espy upon an altitudinous feline au fait in the bailiwick of confabulation. The feline acquaints them to a conglomeration of frolicsomeness, and subsequently spoliates their house, whilst the offspring acquiesce all along. The cat is idiosyncratic to behold, and it is the surmise and conjecture of this expositor that the scions are, in fact, quite unprepossessing. It is assuredly no Kiarostami, yet this, too, should have been subjugated to bureaucratic interdiction!
Upon egression of the cinema, an assemblage of puerile children asserted that THE CAT IN THE HAT reminisced of a Mohsen Makhmalbaf, though they were quite mistaken, indeed. It is comparatively that of a Marziyeh Meshkini, though her 2000 masterpiece is proficient at interlacing sagas of multitudinous acumen with paltry exertion.
Emmanuel Lubezki, though authenticated to be of facile expertism as evidenced by such recherchi actualizations as SOLO CON TU PAREJA and MARLENA EN LA PARED, is abominably able to conjure up little more than a Theo van de Sande -- a travesty of Knowlesian admeasurements.
This is an interminable scouring into the vacuous and stodginess, indomitably contriturating into the inauspicious torpidism.
2/10
This makes my head hurt. To many big words.
And too many made up ones.
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He hit one 524 for me last night. Start this man.
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@Bozzman0109 said in Rogers Hornsby reviews??:
@SchnauzerFace said in Rogers Hornsby reviews??:
Review of "The Cat in the Hat" film
Written by: Rogers HornsbyLE DEUXIEME SOUFFLE, a Scandinavian Revival paradigmatic magnum opus from 1966, is incontrovertibly the animus for this insensate ruination; however, the sum of this profligate and bedaubed prodigality does not equiponderate that of the autochthonous Melvillesque enterprise in postwar modernism.
Bo Welch (THE HOBOKEN CHICKEN EMERGENCY, JOE VERSUS THE VOLCANO), notwithstanding this is your incipient photoplay, it is axiomatic that the juncture has transpired for you to be superannuated. You are a maladroit dilettante, and your potentiality to adumbrate the sequential narrative is precariously wanting. Anterior to undertaking an appurtenant fabrication, you ought be necessitated to perpend the efforts of Mauriac and Queneau, and might I suggest CASQUE DOR? This Kammerspiel is obloquy to physicality, and to that, I take great offense.
And what of the ethereal artifice, one might catechize? It subsumes utterly of a duo of contumacious progeny who espy upon an altitudinous feline au fait in the bailiwick of confabulation. The feline acquaints them to a conglomeration of frolicsomeness, and subsequently spoliates their house, whilst the offspring acquiesce all along. The cat is idiosyncratic to behold, and it is the surmise and conjecture of this expositor that the scions are, in fact, quite unprepossessing. It is assuredly no Kiarostami, yet this, too, should have been subjugated to bureaucratic interdiction!
Upon egression of the cinema, an assemblage of puerile children asserted that THE CAT IN THE HAT reminisced of a Mohsen Makhmalbaf, though they were quite mistaken, indeed. It is comparatively that of a Marziyeh Meshkini, though her 2000 masterpiece is proficient at interlacing sagas of multitudinous acumen with paltry exertion.
Emmanuel Lubezki, though authenticated to be of facile expertism as evidenced by such recherchi actualizations as SOLO CON TU PAREJA and MARLENA EN LA PARED, is abominably able to conjure up little more than a Theo van de Sande -- a travesty of Knowlesian admeasurements.
This is an interminable scouring into the vacuous and stodginess, indomitably contriturating into the inauspicious torpidism.
2/10
This makes my head hurt. To many big words.
It seems like Rogers Hornsby did not like The Cat in the Hat.
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Couldn’t tell he was to busy pontificating.
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A admin locked this topic on
