Profile contradicts the skills section (skills are dominated by design tools + you say you’re not that good at JS, profile says you’re a programmer). You did a design course, and typography is central to design, surely you can make a very good looking CV with black text on white paper.
#RESUME STAR REVIEW SOFTWARE#
Simple designs, black on white, in Word/Google Docs will generally work better because someone can actually print them out, and software can generally parse information out of them easily. If it can’t do that, assume there’s an issue. The service should try to parse the CV and fill in your profile automatically.
As a test, take you CV and upload it to or another similar service. The design is likely to be impossible for software to parse. So the skills part has to be inferred from the design of the whole thing, and that is lacking. You list design tools but no design skills.
#RESUME STAR REVIEW PROFESSIONAL#
Also the skills at the bottom seem useful professional skills, why are they separate?
Walt Disney Pictures will release “The Little Mermaid” in theaters on Friday, May 26.Don’t use star ratings, they don’t mean anything, just write down your skills. For now, “The Little Mermaid” exists outside of the very world it so wants to be a part of, one already so lovingly rendered in its predecessor, “real” or not.
#RESUME STAR REVIEW MOVIE#
That problem: Does it feel real? Not yet, and not even movie star turns and rapping birds and the very best of intentions can bridge that divide. That trend will likely continue to be true for the foreseeable future, but until the House of Mouse cracks the real problem at hand, these films will never become classics on their own merit. Disney’s obsession with turning some of its most beloved properties into live-action offerings simply for, what, the realism? the technology? the money? stumbles into both flashes of brilliance and moments of sheer nonsense (the latter was more of an issue with the studio’s recent “Lion King” remake than in this Marshall joint). So, does it look real? Sometimes, sure, but that’s a strange worry for a story that is - again, again - about mythical sea creatures. There’s even a bit about the health of the ocean and concerns about pollution that should appeal to older viewers who could never quite kick the long reach of “FernGully” on their own childhood psyches.Įric’s backstory gets inflated (something about him appearing out of nowhere and being adopted by the loving royal couple is a subplot that seems meaningful and ultimately goes nowhere fast), while King Triton’s latent rage and his extreme hatred of humans is chalked up to the fact that they killed his wife (another subplot that sounds of great import that’s ultimately tossed aside). Marshall’s bent toward realism also applies to Magee’s script, which magnifies (and sometimes even illuminates) parts of the original story that have added resonance these days, like the seemingly uncrossable divide between the humans and merpeople, who both think the other group is evil, savage, and out to ruin their way of life. Less fruitful are some of the other changes made to the story, enough to bloat the original film’s snappy 83-minute running time to over two hours (prayers up for the kiddos in the audience). (And her stunning singing? Further icing on the “this young woman is a movie star” cake.) There are some things even the most lovingly rendered pieces of hand-drawn animation just can’t match, and Bailey’s emotive skill is one of them. Just look at her face, so expressive and so open, so deeply and wonderfully human and alive. Despite opening with a epigraph that harkens back to the (incredibly bleak) Hans Christian Andersen fairy tale which has inspired countless “Little Mermaid” yarns, Marshall’s film is mostly indebted to Clements and Musker’s vision, using it as a template to offer up yet another Disney-backed spin on one of the studio’s standards.īut it’s star Halle Bailey, appearing in her first leading role, who makes the best case for why this classic Disney tale needed to be made into a live-action affair. As Rob Marshall’s live-action remake (reimagining? eh, not so much) of Ron Clements and John Musker’s 1989 animated Disney classic “ The Little Mermaid” opens, fans of the original gem will likely find themselves accurately predicting each shot, each beat, each song, each line, each feeling.
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