Example collocations logo

Sluggish in sentence

243 examples of Sluggish in a sentence

Consumers paying off that debt is one of the main reasons why our economic recovery is so sluggish today.
I am also unflappable, languid, stoic, impassive, sluggish, lethargic, placid, calm, mellow, laid-back and, well, slothful!
Elevated testosterone levels, elevated levels of stress hormones, and your amygdala is going to be more active and your frontal cortex will be more sluggish.
As the coniine takes effect, the fly grows sluggish, stumbles, and falls down the funnel into a pool of liquid at the base, where he drowns.
an excruciatingly sluggish script, an excessive amount of stock footage from the first two flicks, a meandering narrative, a crippling lack of action and momentum, largely dreary going through the motions (non)acting from an understandably disinterested cast, and a poorly staged climactic battle between the mummy and the robot (the movie finally bursts to sidesplitting stupid life with said big bash, but alas it barely even lasts two lousy minutes and thus proves to be much too little far too late to alleviate the severity of the general overwhelming boredom), this numbingly dry, drippy, and draggy snorefest rates as a complete washout.
In any adaptation, in order to add a new dimension, the biggest pre-requisite is the Screenplay, which is sluggish here not being crisp at places, and therefore the pace slackens quite often.
Director/screenwriter Jess Franco crucially fails to inject any style or vigor into the generally blah and meandering proceedings, allowing the sluggish pace to crawl along at an often agonizingly slow clip and staging the infrequent action scenes with a singular lack of skill and panache.
Romance-novel writing gets sluggish treatment, although I thought the performances by leads Harrison Ford and Kristen Scott-Thomas were fine.
The direction is awful, the production values just dreadful, the acting non-existent, and the pace sluggish.
I was looking forward to seeing these veterans on their last legs (Douglas died before the film had even premiered though, by that time, he had already completed another role, while it proved Astaire’s own inauspicious swan-song) but GHOST STORY went through too many changes of mood – while maintaining a sluggish pace throughout and emerging overlong into the bargain – to be anything but a failed curio.
Sluggish and without structure, tension or story, the film coasts on the thin premise of "putting together a show".
Maman Firmansyah's blah, uninspired direction and Piet Burnama's dull, talky script thoroughly undermine any trashy vitality this flick needs in order to qualify as a pleasing piece of babes-behind-bars exploitation junk: the sluggish pace painfully drags throughout, there's no gratuitous female nudity whatsoever (the girls don't even show any skin during the obligatory group shower scene!), the expected torture and degradation are both extremely tame and tepid, the moderate crummy gore likewise fails to impress, and even a ridiculous catfight sequence ain't nothing to get excited about.
Those who complain of the slow pace of this movie should stick to car crashes and kung-fu: at 2 hours and 15 minutes it's not particularly long, and it moves at a leisurely but hardly sluggish pace.
Ray is interesting in parts, and technically it's very well made, but Ray is often sluggish, and forgets some important details about Ray's life.
It's more interesting, it has more Oomph, and it's nowhere near as sluggish as the 2nd.
Unfortunately, due to a sluggish start, I can't say that this is one of Hitch's best films.
Despite the added character of Lionel coming across as rather irritating, more to do with how he was written than how he was acted, and one or two moments of sluggish pacing, this is solid as an adaptation of a decent book.
Most 1930 films have a creaky edge to them -- the camera work is pretty sluggish at times -- but we must forgive these all-talking pleasures for their thump-a-long "qualities".
Stallone puts in another sluggish performance as the titular Special Forces commando, while Richard Crenna attempts to hold up the serious actor quotient.
The direction alternated between sluggish and confusing (one was not at all sure exactly who was doing what and with what and to whom at at least one crucial juncture).
The over-eager hopefuls are filled with promise and heartache, but their personal stories of angst are a little embarrassing; this, matched with Attenborough's sluggish pacing, spells disaster, and even the now-famous songs fail to break through the artificial wrapping.
An interesting cast - Joe Pesci, Brooke Adams, Danny Aiello, Jonathan Pryce - have all done better, the action is sluggish and sparse and only John Scott's exceptionally fine score (part of which turned up in the last reel of Die Hard) makes a positive impression.
There are a handful of good scenes (particularly whenever Jackson is on-screen), but Bridges' pacing is unrelievedly sluggish and the film's dulled-out color is enervating.
However, certain elements relating to how this wide-screen entertainment was aimed at a mid-fifties audience that is now gone have dated it quite a bit, and the film's sometimes sluggish pacing doesn't help.
He leads basically a one-man campaign to stop an epidemic of pneumonic plague in New Orleans, struggling to convince sluggish politicians and complacent policemen that there is a problem.
Jack London's short story "A Thousand Deaths" is virtually unrecognizable in this sluggish cinematic translation.
Thus leaving us with Wee Baby Burke and his sluggish monotoned delivery to tell us all about the picture we are about to see.
Writer/director Harry Essex, who also wrote the scripts for the classic 50's fright features "It Came from Outer Space" and "The Creature from the Black Lagoon," pukes forth a 50's style micro-budget clunker that boasts all the necessary bad movie vices to qualify as a real four-star stinker: the flat acting from a lame no-name cast (flash-in-the-pan 70's drive-in flick starlet Maria De Aragon in particular just takes up space as fetching love interest heroine Jeanne), sluggish pacing, ragged editing, rough, grainy cinematography by Robert Caramico, meandering narrative, a roaring, overwrought score by Robert Freeman, several ludicrous touches (the fireball stalks people before it kills them!), and a hackneyed "it ain't over yet!" ending all combine together to create one laughably lousy and leaden lump of a total stiff.
While the premise certainly has promise, alas said promise is severely undermined by writer/director Brett Piper's lackluster execution: the sluggish pace crawls along for the first two thirds of the picture, there's no spooky atmosphere to speak of, the special effects are strictly so-so, and the drab and uneventful script gets bogged down in a dull surplus of insipid talk.
The movie was too long and sluggish in its pacing, but the most glaring element of it for me was how much finer an actor Anthony Hopkins is versus Ryan Gosling.
Next