Sentences with phrase «audience expectations for»

Not exact matches

The bad habit: You downgrade the audience's expectations by offering an excuse in advance for your poor performance.

For a blog to be successful, you must stay on topic and cater to the wants, needs and expectations of your target audience.

A good way to understand expectations is to ask members of the audience for examples of good communicators within the organization.

Based on our audience and revenue expectations for 2017, the average revenue per fan this year will amount to $ 3.64.

But consistency builds expectation and anticipation for the audience.

I think the approach by Gordon Johnston is healthy and sound: he points out that while the texts and passages that are typically used to refer prophetically to Jesus Christ were not exclusively and directly prophet for the original Jewish audience, the promises and hope that are contained within these texts were never ultimately or completely fulfilled in any human king or historical era, and so always left open the expectation for something (or Someone) more.

Since the basic purpose of American commercial television is to attract an audience, it has cultivated a taste and expectation for instant gratification and simple answers.

As far as his expectations for the film go, he said he hopes audiences walk away with, «This light and love, the inspiration.»

But for some reason — either because the audience is too nice, or because everyone has become complacent with low expectations, or because we all want to avoid the retribution that comes from someday putting ourselves under the proverbial microscope — we've let lackluster talks become the norm.

In addition, both of the post-credit sequences made the audience I screened the film with giggle with delight and applaud with great expectations for the potential sequel.

It's a subtly subversive show, reversing audiences» expectations for Hader's post-SNL career and his chosen genre alike.

Black Panther has the advantage of not being a sequel, so audiences don't have set expectations for the characters.

Goodbye Christopher Robin may also confound audience expectations: for all that it's about the creator of Winnie the Pooh, it's hardly a cuddly kids story.

Rarely do films, especially in recent years, show such blatant disregard for an audience's expectations for definitive answers.

If Shyamalan is to the point where he's actively flipping the bird to audiences and expectations, eschewing his life - support systems for twists and protracted takes in favour of ugly, flat, uninspired action sequences and blighted implications, then I might actually at this point be looking forward to his next one.

With both actors matching his enthusiasm for complex characters and the taut, challenging story about a brain - damaged ex-jock (Gordon - Levitt) being played by a seductive sociopath (Goode), the conversation turned from defying audience expectations, to what constitutes normal, to the wonders of location filming during winter in Winnipeg.

Audiences who find predictable slapstick, sitcom - like, crude humor funny will have an air - conditioned escape, but there is nothing new under the sun here for anyone with expectations.

One of the joys of Asante's filmmaking is how she subverts audience expectations to make observations on politics, race and gender: As Sophie Mayer observes in her review for Sight & Sound, «in a clever twist on the Bechdel test, Asante shows that it is through talking about marriage and men that the female protagonists of costume drama are able to articulate a political philosophy.»

However, any such expectations were confounded by Winterbottom's creation of a work that challenged generic norms and tested the boundaries of the content deemed acceptable for the middle - aged middle class audiences that are the genre's mainstay.

Ever since the arrival of the first Deadpool, expectations have been high for the sequel — expectations that soars even higher after Deadpool himself told audiences that Cable would be added to the cast in the film's after - credits scene.

I guess it's a good thing, especially given the marketing was seemingly trying to give away as much as humanly possible, that Ridley Scott has succeeded in mystifying audiences and, for some, confounding expectations.

The DVD's pitiful two bonus features will leave much to be desired for that format's audience, while the Blu - ray's picture - in - picture commentary, deleted scenes, and Easter egg go a ways to meet expectations on that format.

Perhaps they are so in tune with a specific time that for subsequent audiences, the amusement just can't live up to expectations that have been so highly raised.

by Glenn Dunks «Ridley Scott has succeeded in mystifying audiences and, for some, confounding expectations»

The worst of it is that in order to facilitate Sandler's milk - fed vision of the controversy-less world of the privileged male, Anger Management concludes with the revelation that the whole thing was, in fact, an elaborate fiction along the lines of Fincher's The Game — a conceit that in this context speaks nothing of cinematic deconstruction and everything of an irredeemable disdain for the intelligence and expectations of its audience.

Really, I wish there was no publicity ever for anything with actors because I like audiences to experience stories without any expectations at all.

Sean Astin and Wil Wheaton graced screens with classics that delight audiences still, Astin in THE GOONIES and Wil Wheaton in STAND BY ME, there is expectations for these actors deliver.

Perhaps the reason the film concludes in a way that does not fulfil earlier expectations is because it breaks free from its contained and interwoven structure, encapsulated by the circular metal cage containing the three stunt riders performing for the audience.

That could end up hurting the movie more than it helps it if expectations are set too high, but the script didn't earn a place on the Black List for nothing, and if it's anything like Kim's oddball Western «The Good, the Bad, the Weird,» then U.S. audiences could be in for a fun treat.

For some reason, the person the camera follows isn't Tom, an awkward attempt at playing with the audience's expectations.

Ultimately the decision came from director Ridley Scott to split the difference between strict accuracy and audience expectations and opt for more familiar red and gold colorations.

Often times, the writers play with an audience's expectations for an animal, such as the ruthless bunny Snowball or the French Poodle that likes to head - bang to hard rock.

I'm not a complete stickler for realism and I think some tricks used are quite effective (the Han Solo gag and the expectations vs. reality sequence being two), but it's obvious that (500) Days of Summer requires its audience to invest in the realism of the relationship at least so it can get a little stylized elsewhere and I think it failed there.

Little Fockers represents the third in the lucrative Meet the Parents series, and its par for the course as far as intent and delivery, no better and no worse than the fulfillment of audience expectations.

Whether it is in tone, execution of a plot or overall direction, establishing expectations can be a considerable asset for the movie - going audience.

None of the nominated films was a box - office smash (a whispered groundswell of support for comic - book film Deadpool never materialized), although films like La La Land, Arrival, and Hidden Figures have majorly outdone expectations with audiences.

For some, this might be the factor that makes Seven Psychopaths a muddled mess, flirting with audience expectation yet never quite satisfying.

We could of made a decision just to make a film a year that go down in terms of quality because you're just pumping shit out because you need to feed an audience's expectations or you can sit on an idea for four years.

Get ready for another Disney redo — this time with a less popular property unburdened by astronomical audience expectations.

In many ways, it proves that action - dramas can rise above preconceived expectations that their audio track be lax, for fear of startling audiences along the way.

Tom Jolliffe looks at Ryan Coogler's career as a writer / director and the possibilities (and importance) of what comes next... When you breakout in a big way as an independent film - maker, in a small film that manages to hook in a fairly large audience, the expectation for what comes next, begins.

As I saw it — and still do — movie theaters are modern day classrooms where audiences — youngsters of all ages — learn how to behave in arenas ranging from the bedroom to the battlefield, and where they form their standards for and expectations about life.

Both opened above expectations, capitalizing on East Coast audiences looking for distraction amid the recovery from the storm.

It was then, after the audience's expectations for visual effects was permanently altered, that Hollywood started to lose its grip on the relationship between narrative necessity and epic scope.»

The Parallax View is Alan Pakula's hommage to Alfred Hitchcock, employing many of the Master's techniques and devices, particularly his penchant for experimenting with different kinds of suspense and various ways of fulfilling — or not fulfilling — audience expectation.

It's as if Refn is using her to play with the expectations of the audience — he makes her look a bit frumpy, and he only features her for a few (crazy) minutes.

The addition of Sharlto Copley as a mercenary turned advocate of progression for third world countries gives the proceedings good opportunities to toy with expectations of the audience (keep in mind that none of the swerves are anything mind - blowing, but logically reasonable shifts that propel momentum forward and shake the plot up), but again, his arc (along with everyone else's including Harold's) could have been better realized).

There's an element of «seeing it to believe it» built into the presentation: Expectations based on the history of a mostly direct - to - video franchise, an aging action - hero cast, and a patently absurd premise so conspicuously contradict the art - house sensibility of the film itself that you can hardly blame the first wave of audiences for feeling wowed by the shock.

The race to finish the movie in time for its original release date isn't only about audience expectations.

Whether you're recent to the «training» business or consider yourself a seasoned veteran, it's incumbent upon you to hone your training skills not only for your professional capacity but also exceed your audience's expectations.