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Some of this material feels like filler.
Like the conference diaries, this material feels like something she decided to give us when she suspected that we'd be missing Zamenhof.
Ms. Argento's commitment to this material feels more genuine than Mr. Assayas's, but his extraordinarily beautiful and somewhat ethereal visual style works in fascinating counterpoint to her lowdown and dirty vibe.
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This simply means that the material feels chillier when wet.
A lot of the material feels rather tired.
Yet for all its engaging imagination, the material feels cramped by its structure.
However, if the material feels arbitrary and meaningless, reading it is no different from making funny faces with flapping lips and motorboat sounds.
Even when the material feels overly spritzed in message mongering, the young performers — who also include Sade Namei, Ashley Bryant and Emily S. Grosland — hold your attention.
He has impersonated them all a thousand times, of course, but now, with the prospect of Broadway, the material feels new all over again.
But its commitment to the material feels honest, nowhere more so than in Mr. Downey's darkly shaded, nuanced performance, one that deepens this film with its insistence on the fundamental mysteries of human character.
Analysing the material "felt like being insulted constantly, just being belittled and degraded and put in your place".
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com