Word: rathering
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Peet's ($1.81): Unlike Starbucks, Peet's didn't have that initial alarming attack on the palette. Instead, it's nicely smooth, with that signature Peet's bite in the finish. The earthy, wholesome taste is peculiarly velvety. But the only drawback may be that it seems like a rather weak coffee...
...bliss of “Stillness Is the Move.” Though the quality diminishes slightly in the last couple of songs, “Bitte Orca” is a fascinating statement from a band that had seemed reluctant to focus their talents on straight-forward songcraft rather than the hit-or-miss tendencies of experimental rock. “There is nothing we can’t do,” declare the lovers in “Stillness Is The Move,” and it seems that, for Dirty Projectors, the same holds true...
...anonymous aliens emerge equally moving. The central alien and his son serve as the focal point for our sympathy, but they never monopolize it; despite appearances to the contrary, everyone is worth saving. Constrained by length and conflicting genres, Blomkamp must settle for a snapshot of this fascinating world, rather than a complete explication. This is a tantalizing glimpse of the possibilities of his fiction, not a full demonstration of them. We are presented with the realities of life on the ground, and since things are the way they are, questions of cause are futile—the only question...
...introducing entirely new scenes (such as when the Death Eaters attack the Weasleys’ home). But overall, Kloves’ changes contribute to a much more compact film; “Deathly Hallows” is the first in the series to progress at an adequate pace rather than at the speed of a Golden Snitch. Although the Potter films continue to mature in both quality and subject matter, now catering more toward adult audiences, the saga will remain emblematic of an entire generation’s childhood. On July 15th, 2011—the release date...
...Julie & Julia,” however, the guilt that often accompanies eating is left by the wayside. The main characters aren’t locavores, flexitarians, pescetarians, or ovo-lacto-vegetarians. Instead, director Nora Ephron presents cooking and food as enjoyable—inducing pleasure rather than peccability. The film chronicles two women’s journeys of self-discovery: a bored housewife, Julia Child (Meryl Streep), gleefully bests male chefs at Le Cordon Bleu cooking school in Paris and writes the revolutionary “Mastering the Art of French Cooking,” while Julie Powell (Amy Adams...