Word: meritable
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Dates: during 2000-2009
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...bother indeed, when these measures of cinematic merit mean very little? This year’s political hardball concerning A Beautiful Mind’s campaign reminds us that even when the right people waltz away with the right statuettes, their victories are more often the result of behind-the-scenes chicanery than mere onscreen magic. Unfortunately, many of the more excellent films do not have the resources to compete for Academy votes on the same level as Hollywood’s studio behemoths, who often simply decide to put all their eggs in one basket. The Coen Brothers?...
...stunt orchestrated by that most commercial of institutions—Hollywood—in our most commercial of societies. Just look at two of the Best Picture winners over the last decade. Titanic and Gladiator are epic blockbusters that drew huge box-office revenues but are of questionable artistic merit. Even recent winners with significantly smaller budgets are hardly art-house flicks. Shakespeare In Love is little more than a sappy romance comedy in period costume, and American Beauty is a jarring but hardly-subtle expression of bourgeoisie suburban angst. Considering this history, it’s no surprise that...
...scholars will each receive a $30,000 merit-based grant to assist them in paying for graduate or professional school in preparation for careers in government, the non-profit sector or public service...
There’s merit to Impact’s concern about common objections to beauty pageants—that they demean women by putting them on display as physical marvels devoid of personality. Pageant consultants teach contestants to layer on the make-up, rip off the wax, fill out the bra, and above all else, not to think too much. Interviews are not about authenticity; they’re about practice. Winning competitors must manufacture an identity and, in so doing, discard emotion and intellect in search of validation...
...course, there were some individual works of merit that managed to stand out, including Kara Walker’s recent aggressive charcoal drawings (Brent Sikkema, New York); Serse’s stunning pencil drawing (Galleria Continua, San Gimignano); Patrick Jacob’s viewing lens “The Ortho Rooms, Dandelions” (Pierogi, Brooklyn); and Jee Sung Lee’s striking black and white ink jet print “Connect” (Carl Hammer Gallery, Chicago). Perhaps unfortunately, the Armory Show’s environment of an art fair is less than a conducive setting...