Word: familiarizes
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...Working with co-director Vincent Paronnaud (the celebrated comix artist known as Winshluss), Satrapi finds a simple, supple, almost monochrome visual style that allows the heroine's distinct voice and raucous wit. Even when the story turns from Iranian political melodrama into more familiar coming-of-age territory, Persepolis never loses its momentum, its sustaining sense of fun or its rapturous hold on the viewer...
...control those levers of power, and use them to provide corporate welfare, tax breaks, access to public land, and other big-government goodies to friends in pro-Republican industries. Baroody knows how to work those levers; he's worked in the Washington henhouse since 1970, and he's intimately familiar with the CPSC. Consumer activists had called him "totally unqualified," but they're breathing easier today because they know he's just the opposite...
...example, a search for "Beatles" reveals the best content types and presents them below the search box. In addition to web pages, Google shows us the most relevant results for the band found in "Music," "News," "Groups," "Blogs" and "Images," which appear in tabs. The familiar text-based results are still there, below the new tabs. The revamped search code's new video tab, for example, offers clips of the band's performances, plus a silly YouTube parody entitled "Indian Beatles: some kinda weird bollywood beatles clones...
...Israel, once again, may have succeeded in taking out a few Hamas commanders and slowing the rain of homemade rockets landing on its soil from Gaza. But it has fallen into a familiar trap. Once again, their mutual loathing of Israel has helped warring Palestinian militias overcome their fratricidal tendencies. When the Fatah-Hamas power struggle turns into a shooting war, the most effective way of getting a cease-fire appears to be firing a few dozen badly aimed rockets into southern Israel and then waiting for the Israelis to intervene - which the Israelis invariably do. And when under fire...
...movie has a formal rigor familiar to the more serious Cannes entries: virtually every scene, no matter how long, is shot without cutting. That can be an enervating strategy, but here it works marvelously, either forcing the characters together as reluctant conspirators or isolating each in his or her predicament. (There's a bustling scene, at the birthday party of Otilia's boyfriend's mother, that becomes a kind of tour de force, with the gaiety of the celebrants making the girl's misery all the more palpable.) It may be minimalism, but in the best sense: Mungiu has stripped...