Questões de Vestibular de Inglês
Foram encontradas 5.960 questões
Ano: 2013
Banca:
Universidade Presbiteriana Mackenzie
Órgão:
MACKENZIE
Prova:
Universidade Presbiteriana Mackenzie - 2013 - MACKENZIE - vestibular |
Q1347204
Inglês
The sentence “How would they transfer control to you if they had trouble?” in
the third conditional form would be:
Ano: 2013
Banca:
Universidade Presbiteriana Mackenzie
Órgão:
MACKENZIE
Prova:
Universidade Presbiteriana Mackenzie - 2013 - MACKENZIE - vestibular |
Q1347203
Inglês
According to the cartoon,
Ano: 2013
Banca:
Universidade Presbiteriana Mackenzie
Órgão:
MACKENZIE
Prova:
Universidade Presbiteriana Mackenzie - 2013 - MACKENZIE - vestibular |
Q1347202
Inglês
Texto associado
Django Unchained review:
A truly wild Western with a killer line-up
Review of Oscar-nominated film by Sunday Mirror film critic Mark Adam.
SONY PICTURES
A truly wild Western with a killer line-up
Review of Oscar-nominated film by Sunday Mirror film critic Mark Adam.
SONY PICTURES
THE STARS
Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Samuel L Jackson, Walton Goggins, Kerry Washington.
THE STORY
Two years before the start of the Civil War, the unlikely partnership of German bounty hunter Dr King Schultz (Waltz) and Django (Foxx) – the slave he recently freed – set about making money tracking and killing outlaws.
But Django also has plans to rescue his wife Broomhilda (Washington) from charismatic but cruel Mississippi plantation owner Calvin Candie (DiCaprio).
THE VERDICT
When Quentin Tarantino decides to make a Western, you know it’s going to be epic, violent, funny, exciting and challenging. And this wonderfully irreverent and distinctively bloody take on the wild Wild West hits the spot, brimming with delightfully oddball characters and racy style.
This is obviously not your run-of-the-mill cowboy tale. Instead, Tarantino flies close to controversy by setting his story against the violent and brutal backdrop of the slave trade.
As usual his casting is spot on. Waltz (who won an Oscar for his evil Nazi role in Tarantino’s last film Inglourious Basterds) is smooth perfection as a German dentist/bounty hunter and is wonderfully complemented by Jamie Foxx’s steely-eyed former slave.
The early bonding scenes of them tracking redneck villains (Django relishes the fact he can make money killing “white folk”) are amusingly and snappily shot.
Initially, Tarantino pokes fun at the rampant and casual racism of the period – hilariously so in a scene involving a Ku Klux Klan mob complaining about eye holes in their hoods??– but things turn nastier when Schultz and Django attempt to rescue Broomhilda.
Leonardo DiCaprio has a fine old time as the brutal Candie and absolutely oozes slippery cruelty. But he manages to be out-acted by Tarantino regular Samuel L Jackson, playing an elderly slave and close confidant of Candie who is as menacing and controlling as his supposed master.
Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Samuel L Jackson, Walton Goggins, Kerry Washington.
THE STORY
Two years before the start of the Civil War, the unlikely partnership of German bounty hunter Dr King Schultz (Waltz) and Django (Foxx) – the slave he recently freed – set about making money tracking and killing outlaws.
But Django also has plans to rescue his wife Broomhilda (Washington) from charismatic but cruel Mississippi plantation owner Calvin Candie (DiCaprio).
THE VERDICT
When Quentin Tarantino decides to make a Western, you know it’s going to be epic, violent, funny, exciting and challenging. And this wonderfully irreverent and distinctively bloody take on the wild Wild West hits the spot, brimming with delightfully oddball characters and racy style.
This is obviously not your run-of-the-mill cowboy tale. Instead, Tarantino flies close to controversy by setting his story against the violent and brutal backdrop of the slave trade.
As usual his casting is spot on. Waltz (who won an Oscar for his evil Nazi role in Tarantino’s last film Inglourious Basterds) is smooth perfection as a German dentist/bounty hunter and is wonderfully complemented by Jamie Foxx’s steely-eyed former slave.
The early bonding scenes of them tracking redneck villains (Django relishes the fact he can make money killing “white folk”) are amusingly and snappily shot.
Initially, Tarantino pokes fun at the rampant and casual racism of the period – hilariously so in a scene involving a Ku Klux Klan mob complaining about eye holes in their hoods??– but things turn nastier when Schultz and Django attempt to rescue Broomhilda.
Leonardo DiCaprio has a fine old time as the brutal Candie and absolutely oozes slippery cruelty. But he manages to be out-acted by Tarantino regular Samuel L Jackson, playing an elderly slave and close confidant of Candie who is as menacing and controlling as his supposed master.
The meanings of the words “bounty hunter”, “run-of-the-mill” and “redneck”
in the text are, respectively,
Ano: 2013
Banca:
Universidade Presbiteriana Mackenzie
Órgão:
MACKENZIE
Prova:
Universidade Presbiteriana Mackenzie - 2013 - MACKENZIE - vestibular |
Q1347201
Inglês
Texto associado
Django Unchained review:
A truly wild Western with a killer line-up
Review of Oscar-nominated film by Sunday Mirror film critic Mark Adam.
SONY PICTURES
A truly wild Western with a killer line-up
Review of Oscar-nominated film by Sunday Mirror film critic Mark Adam.
SONY PICTURES
THE STARS
Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Samuel L Jackson, Walton Goggins, Kerry Washington.
THE STORY
Two years before the start of the Civil War, the unlikely partnership of German bounty hunter Dr King Schultz (Waltz) and Django (Foxx) – the slave he recently freed – set about making money tracking and killing outlaws.
But Django also has plans to rescue his wife Broomhilda (Washington) from charismatic but cruel Mississippi plantation owner Calvin Candie (DiCaprio).
THE VERDICT
When Quentin Tarantino decides to make a Western, you know it’s going to be epic, violent, funny, exciting and challenging. And this wonderfully irreverent and distinctively bloody take on the wild Wild West hits the spot, brimming with delightfully oddball characters and racy style.
This is obviously not your run-of-the-mill cowboy tale. Instead, Tarantino flies close to controversy by setting his story against the violent and brutal backdrop of the slave trade.
As usual his casting is spot on. Waltz (who won an Oscar for his evil Nazi role in Tarantino’s last film Inglourious Basterds) is smooth perfection as a German dentist/bounty hunter and is wonderfully complemented by Jamie Foxx’s steely-eyed former slave.
The early bonding scenes of them tracking redneck villains (Django relishes the fact he can make money killing “white folk”) are amusingly and snappily shot.
Initially, Tarantino pokes fun at the rampant and casual racism of the period – hilariously so in a scene involving a Ku Klux Klan mob complaining about eye holes in their hoods??– but things turn nastier when Schultz and Django attempt to rescue Broomhilda.
Leonardo DiCaprio has a fine old time as the brutal Candie and absolutely oozes slippery cruelty. But he manages to be out-acted by Tarantino regular Samuel L Jackson, playing an elderly slave and close confidant of Candie who is as menacing and controlling as his supposed master.
Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Samuel L Jackson, Walton Goggins, Kerry Washington.
THE STORY
Two years before the start of the Civil War, the unlikely partnership of German bounty hunter Dr King Schultz (Waltz) and Django (Foxx) – the slave he recently freed – set about making money tracking and killing outlaws.
But Django also has plans to rescue his wife Broomhilda (Washington) from charismatic but cruel Mississippi plantation owner Calvin Candie (DiCaprio).
THE VERDICT
When Quentin Tarantino decides to make a Western, you know it’s going to be epic, violent, funny, exciting and challenging. And this wonderfully irreverent and distinctively bloody take on the wild Wild West hits the spot, brimming with delightfully oddball characters and racy style.
This is obviously not your run-of-the-mill cowboy tale. Instead, Tarantino flies close to controversy by setting his story against the violent and brutal backdrop of the slave trade.
As usual his casting is spot on. Waltz (who won an Oscar for his evil Nazi role in Tarantino’s last film Inglourious Basterds) is smooth perfection as a German dentist/bounty hunter and is wonderfully complemented by Jamie Foxx’s steely-eyed former slave.
The early bonding scenes of them tracking redneck villains (Django relishes the fact he can make money killing “white folk”) are amusingly and snappily shot.
Initially, Tarantino pokes fun at the rampant and casual racism of the period – hilariously so in a scene involving a Ku Klux Klan mob complaining about eye holes in their hoods??– but things turn nastier when Schultz and Django attempt to rescue Broomhilda.
Leonardo DiCaprio has a fine old time as the brutal Candie and absolutely oozes slippery cruelty. But he manages to be out-acted by Tarantino regular Samuel L Jackson, playing an elderly slave and close confidant of Candie who is as menacing and controlling as his supposed master.
According to the movie review,
Ano: 2013
Banca:
Universidade Presbiteriana Mackenzie
Órgão:
MACKENZIE
Prova:
Universidade Presbiteriana Mackenzie - 2013 - MACKENZIE - vestibular |
Q1347200
Inglês
Texto associado
Behind the Meaning of the Pope’s Names
The new pope’s choice of ‘Francis’ hints at the direction of his reign.
The new pope’s choice of ‘Francis’ hints at the direction of his reign.
Enter Pope Francis. The first Jesuit pope. The first from Latin
America. It is, indeed, a historic moment for the papacy. Those who waited
for a leader from the new Catholic world will no doubt be __( I )__ by
the choice, but his new status as the leader of a global church requires
a different persona and a new mode of action. The new pope speaks not
only for Argentina, Latin America, and the Jesuits, but also for the entire
Roman Catholic world.
The first Jesuit pope. The first from Latin America. (Enrique Marcarian/Reuters)
The first Jesuit pope. The first from Latin America. (Enrique Marcarian/Reuters)
It is precisely for this reason that cardinals shed their names along
with their brightly __( II )__ vestments. Historically, the tradition of
selecting a new papal name dates back to the sixth century, when Pope
John II swapped his awkwardly __( III )__ name Mercurius for the solidly
Christian John. At the same time the selection of religious names is more
than an opportunity to symbolically cast aside individual identity. Papal
names chart a course for the future by summoning up the past. The new
pope assumes either the mantle of religious heroes and leaders from days
gone by or the virtues of the Innocents and the Piuses. The selection of
the name both forges a new identity and signals how the pope wishes to
be seen and remembered. It is, in essence, not only the answer to the
__( IV )__ question “Who do you want to be when you grow up?” but
also a way of preemptively writing one’s own reviews.
Traditionally popes have been __( V )__ of reaching too high, of appearing too self-congratulatory. The office of the pope is built, literally and metaphorically, on the legacy of St. Peter, the apostle of Christ, whose remains lie beneath the papal seat in the Vatican. But there has been no Pope Peter II. Thus far, no pope has had the audacity to present himself as standing in continuity with the favored disciple of Jesus. Nor would Pope Francis have been able to select the name of the founder of his own order. A Pope Ignatius—after Jesuit founder Ignatius of Loyola—would have appeared self-serving.
At first blush, Pope Francis’s selection of a previously __( VI )__ papal name—he is no 23rd anything—marks a break with the past and augurs well for those looking for a move away from deeply entrenched institutionalism. The new pope symbolically clears the deck for a new period of Catholic history. For a church desperately in need of an administrative makeover, it creates a nominally blank slate for the pale-garbed pontiff.
Traditionally popes have been __( V )__ of reaching too high, of appearing too self-congratulatory. The office of the pope is built, literally and metaphorically, on the legacy of St. Peter, the apostle of Christ, whose remains lie beneath the papal seat in the Vatican. But there has been no Pope Peter II. Thus far, no pope has had the audacity to present himself as standing in continuity with the favored disciple of Jesus. Nor would Pope Francis have been able to select the name of the founder of his own order. A Pope Ignatius—after Jesuit founder Ignatius of Loyola—would have appeared self-serving.
At first blush, Pope Francis’s selection of a previously __( VI )__ papal name—he is no 23rd anything—marks a break with the past and augurs well for those looking for a move away from deeply entrenched institutionalism. The new pope symbolically clears the deck for a new period of Catholic history. For a church desperately in need of an administrative makeover, it creates a nominally blank slate for the pale-garbed pontiff.
Newsweek
The adjectives that properly fill in blanks I, II, III, IV, V and VI, in the text, are
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