Sentences with phrase «audience expectations in»

It gives her room to comment and tinker with audience expectations in how those characters behave.

Not unlike whodunit slashers «Scream,» «Urban Legend» and «Valentine» where the whole cast is a suspect, Scott Lobdell's script toys with audience expectations in terms of who just might be a red herring and who is actually behind the mask, holding the knife / baseball bat / half - shattered bong.

Transmedia is an entertainment super-system that enables children's favorite characters to travel across media platforms and it's now an audience expectation in children's entertainment.

Not exact matches

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

When Cirque was rapidly building its brand in the early»90s, there was a sense that new ideas and departures were a part of Cirque forging its path, but the reluctance of audiences to warm to Shpeel shows they've developed higher expectations.

Not necessarily; the customers in your target markets might have different likes and expectations, but the only way you can understand those future customers and plan your service around their needs is to first research and compile a comprehensive audience analysis.

NBC is expected to draw a pretty sizable digital audience this year, as more and more people stream live content, and those high expectations are evident in the fact that the network's digital ad sales are up 33 % over the 2012 Summer Olympics.

In December 2013, the U.S. Army launched the «Defy Expectations» recruitment campaign, in which, according to the campaign's press release, «the U.S. Army takes the audience's expectations about what the Army experience is like and turns it on its head in a surprising but realistic way.&raquIn December 2013, the U.S. Army launched the «Defy Expectations» recruitment campaign, in which, according to the campaign's press release, «the U.S. Army takes the audience's expectations about what the Army experience is like and turns it on its head in a surprising but realisticExpectations» recruitment campaign, in which, according to the campaign's press release, «the U.S. Army takes the audience's expectations about what the Army experience is like and turns it on its head in a surprising but realistic way.&raquin which, according to the campaign's press release, «the U.S. Army takes the audience's expectations about what the Army experience is like and turns it on its head in a surprising but realisticexpectations about what the Army experience is like and turns it on its head in a surprising but realistic way.&raquin a surprising but realistic way.»

Make sure that the title of the content matches the body, or much better put heart into it, in which will exceed the expectations of your targeted audience, since sometimes marketers often misuse titles of their pages / posts just to optimize their targeted keywords.

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.

This is true of many entrepreneurial endeavors, not simply women's ministry; but if the majority of female leaders are operating in the marketplace (as opposed to the institutional church), women's ministry as a whole can reach a point of critical mass where an audience - centric philosophy creates wider expectations about style, topics, and content.

Back in the old days, not only could politicians expect to be able to say one thing to one audience and the opposite to another and get away with it, they could also say one thing one decade and another the next and have a reasonable expectation that the past would be difficult to dig up and circulate.

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.

«Daters lie to meet the expectations of what they think their audience is,» Toma explained, but their lies can't be too grand because they will eventually meet their date in person.

What was once a bold and brash comedic undertaking has now been boxed in by audience expectations.

Probably more than any other filmmaker, his name evokes instant expectations on the part of audiences: at least two or three great chills (and a few more good ones), some striking black comedy, and an eccentric characterization or two in every one of the director's movies.Originally trained at a technical school, Hitchcock gravitated to movies through art courses and advertising, and by the mid -»20s he was making his first films.

Audiences most recently saw Holliday Grainger in the pivotal role of Estella in the critically acclaimed feature adaptation of the Charles Dickens classic GREAT EXPECTATIONS, opposite Helena Bonham Carter and Ralph Fiennes, directed by Mike Newel.

Unfortunately, at this point in their careers, the Farrellys suffer from the audience's preconception that they are going to do something gross in every scene, and that expectation telegraphs the so - called funny moments before they happen.

I spent a lot of my review (in all versions of it) addressing audience expectations of the film rather than reviewing the film itself, at least not as directly as perhaps I would normally.

In the first half - hour of the film, Lowery plays with audience expectations when it comes to editing.

LEGO Worlds is fun in small increments and I would be lying if I said this game does not hit the target audience's expectations.

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

That particular audience expects to see Independence Day meets Black Hawk Down and in this situation, their expectation is largely met.

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.

Although we've seen many films of similar ilk in science fiction, from Sphere to Event Horizon, the writers are well aware of audience expectations, putting enough fog and mirrors in the mix so that we are never exactly sure.

This figure was in line with expectations and was achieved with a predominantly male audience, showing that the right film can still draw large numbers from that demographic.

Psycho is pulpy and sordid and perverse, shot in black and white on a low budget to give it the tawdry feel of a B movie, and directed with the impeccable craft of a master who knew how to shock the sensibilities and shake up the expectations of an audience.

All the characters in his film are flawed creatures, and McDonagh twists the audience's expectation on their heads and plays with our distaste and sympathy simultaneously.

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.

McDonagh is a master at introducing characters and automatically telling the audience who they are, but at the same time manipulating their actions in realistic manner that subverts our expectations.

A smart, clever and refreshingly self - aware film, Resolution found a way to craft a compelling mystery while breaking down horror tropes and audience expectations — think of it as a cross between Cabin in the Woods and Funny Games, except with less finger - wagging and more creepiness.

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.»

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.

Ant - Man is just a small - scale success, but it's definitely a successful outing from Marvel that will entertain audiences who go in with their expectations in check.

Not that it's a bad thing, of course, as audiences are likely experiencing blockbuster fatigue at this point in the year, but while there are some promising movies on the schedule, you probably shouldn't set your expectations too high.

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.

«Hunt continues to resonate broadly and successfully across younger and older audiences alike and the film exceeded expectations in its second frame on its way to a third frame expansion into 60 screens in the Top 30 DMAs.»

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.

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.

Sunset Blvd. and In a Lonely Place are a bit more out of place, satirizing the film industry with their screenwriter protagonists and having some fun with audience expectations by respectively infusing romance and comedy into the noir form.

Perfectly marketed, playing on built - in audience expectations and with producer Christopher Nolan participating (he worked closely with writer David S. Goyer), anything less than this super-gross would have been a problem.

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.

But today, we're looking on the positive side of the year's films in the form of six excellent movies that sort of caught audiences off guard by exceeding expectations in some form.

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.

Rise of the Planet of the Apes was a surprise hit in 2011, a film that exceeded the expectations of both audiences and the press.

The MacGuffin of Night Moves is the same as the microfilm - bearing South American juju from North by Northwest or the bird statue beneath the opening titles of The Maltese Falcon — some kind of clay effigy pregnant with some kind of contraband, representative in 1975 of the extent to which film has been entirely co-opted by the way audience expectations govern movies.

Without spoiling anything, it doesn't come together in a satisfying way like «Scream» or the other great meta movies that played with audience expectations.