Word: long
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
When Earhart and her future husband George Putnam (Richard Gere) walk to the train station together after meeting for the first time, a trio of rowdy soldiers joking in the background goes a long way in placing the timeless sentimentality of such a encounter in 1927. Wherever Earhart stops for fuel, the camera lingers in close-up on the children who greet her. Her feats inspired a nation in a way that modern figures rarely can, and the children she meets—including a young Gore Vidal—function as silent narrators of her story...
...long-term buy-and-hold investor, as I don’t think I am smart enough to time the market,” says the professor of the largest economics course at Harvard and author of “Principles of Economics...
...musings to her blog, “The Bjorn Identity,” she grapples with her workaholic husband (Anthony Edwards) and her pregnant, sex-deprived best friend (Minnie Driver). She may be grouchy and stretched thin, but she is stubborn and passionate, and she can pull off long, old-maid dresses better than anyone except perhaps a pregnant Heidi Klum. Dieckmann is wise to lend the character both autonomous ambitions and myriad whims; Eliza comes to represent every mother who has dreamt of driving right past the exit on the way home—except she?...
...without any semblance of sympathy or logic. During the first half of the book, Aslan barely carries a significant role. All the reader knows about him is that he is an aspiring writer who repeatedly copies works of canonical German writers and that he has written a four-page-long novel. Suddenly and out of context, Leo slaughters him with an axe, appears in Aslan’s afterlife as a god or a demigod, and chants like a mad prophet: “every day isn’t easter, the rabbits haven’t laid any eggs...
...when it delivers multi-layered thoughts and sensations that expand themselves throughout the breadth of reading. Instead of delivering on this front, Jakov Lind limited the artistic potential of the novel by consciously designating a purpose to it. “Ergo,” unfortunately, is like a long, repetitive commentary on postwar terror that can never stand alone without its historical context...