Sentences with phrase «audience feels for the characters»

It also has issues with character development and making the audience feel for characters that aren't likable.

In order to make audiences feel for its characters, a connection needs to be made that can only be formed through good storytelling.

Additionally, Wright uses flash - back and - forward as well as fantasy sequences to build a not entirely linear narrative that enhances the emotion the audience feels for the characters and their plight.

Not exact matches

By taking a supporting character that might have otherwise been two - dimensional and turning him into an ever - evolving character that the audience could actually feel for, the rising star rightfully earned the Best New Actor Goya that was subsequently bestowed upon him.

Where those previous films felt compelled to lunge for edginess (read: sneering raunch) as chaos dutifully descended on characters they didn't like very much — and weren't particularly interested in getting audiences to like, either — Game Night takes care to locate our sympathies with Bateman, and McAdams, and its cast of charming ringers.

Foley also doesn't allow much room for the audience to get inside of the characters» heads, to feel what they feel — the most intimate filmmaking a director could accomplish.

For Mana, showing up for practice and competing in the meet are acts of open defiance, and Ariki isn't the kind of character you want to make angry, which pulls the openly conflicted Gen into the center of a potentially violent situation — one that feels like something out of a Paul Schrader movie (say, Travis Bickle's foolhardy attempt to liberate Iris at the end of «Taxi Driver») rather than the sort of climax audiences might anticipate from this otherwise Disney - appropriate inspirational draFor Mana, showing up for practice and competing in the meet are acts of open defiance, and Ariki isn't the kind of character you want to make angry, which pulls the openly conflicted Gen into the center of a potentially violent situation — one that feels like something out of a Paul Schrader movie (say, Travis Bickle's foolhardy attempt to liberate Iris at the end of «Taxi Driver») rather than the sort of climax audiences might anticipate from this otherwise Disney - appropriate inspirational drafor practice and competing in the meet are acts of open defiance, and Ariki isn't the kind of character you want to make angry, which pulls the openly conflicted Gen into the center of a potentially violent situation — one that feels like something out of a Paul Schrader movie (say, Travis Bickle's foolhardy attempt to liberate Iris at the end of «Taxi Driver») rather than the sort of climax audiences might anticipate from this otherwise Disney - appropriate inspirational drama.

, and loud noises rarely feels grating if only because of how loving it feels toward its characters and soundtrack, and how respectful it is toward the limits of its audience's appetite for superheroic universe - building.

It's like a get - out - jail - free card for any filmmaker with a nasty streak, as they can proceed to punish the lead characters in unfathomable ways without asking the audience to feel too guilty for relishing in their suffering.

Whereas the other untested Marvel property, Guardians of the Galaxy, won over audiences with irreverent charm, funny and likeable characters, and a toe - tapping soundtrack, Ant - Man is more content to deliver a broadly goofy and blatantly corny sensibility that makes it feel like it is aiming for a younger set than the other MCU releases, even though it does still garner a PG - 13 rating for its violence.

On one hand, the speech tests the audience's patience for legalese; on the other, it is a tour - de-force, a brilliant meditation on the fundamental tension between moral right and democratic law, delivered by an actor so thoroughly in command of the character that it feels almost effortlessly tossed off — one can only imagine that Lincoln, the lawyer and the president, spent many sleepless nights playing this debate out in his mind.

While sequels like Iron Man 3 and Captain America: The Winter Soldier have overcome feeling like prequels to a different story audiences haven't seen yet, other entries into this super-powered universe, efforts like Thor: The Dark World, Avengers: Age of Ultron and Captain America: Civil War, struggled to come across as anything other than vehicles conceived and designed to get all of these characters into one place at the right time for this May's massive Avengers: Infinity War, none of them working outside of the larger story being told and as such aren't very entertaining or worth watching more than once.

In the Heart of the Sea is an old school movie that feels too sluggish, too underdeveloped, and too free of characters for the audience to invest in.

And yet... Audiences by this point have so much feeling for these characters that the Russos get by with a lot of undistinguished work.

For the first and third acts, World War Z focuses on that dynamic and lets the shock felt by both the characters and audience at seeing civilization crumble before their very eyes work on a psychological level.

Perhaps the hyper - stylized and conceptual Hooper is just a poor fit for a story as nuanced as this — for a movie about such a charged human issue and where characters spend the majority in some tearful state, shouldn't the audience actually feel something?

So in the future it seems that emotion has been outlawed — a strange thing, for though the characters in the film appear to experience jealousy, anger, pride, and sadness, the audience is imbued with a majestic feeling of sleepy unconcern.

The script occasionally feels a bit too witty or ironic for its own good, once again showing the movie's audience - pleasing tendencies, and the soundtrack underscoring most of the film, comprised of multiple pop songs, just emphasizes the simplistic development of character and theme.

For this film I wanted the audience to feel like they've spent the summer with these characters.

This same story and idea could have been structured in a different way with better character development and more heart to have the audience feel a bit more sympathy for David or the children.

What The Conjuring did do properly was give the audience characters you could relate to and feel sorry for.

As for the land locked conflict which pits Peaches between the cool mammoth crowd and her best friend Louis (voiced by Josh Gad), it feels like an afterthought to try and keep the audience engaged on the other characters.

However, the main characters feel a bit too bland for the audience to fully engage with them.

Still, even the talented cast and skilled computer animators can't compensate for the lack of connection the audience feels for this coop of characters — leaving this production a couple of eggs short of a full dozen

That it often feels to be moving rather slowly should not dissuade its audience from enjoying the quietly developing drama, and the eventual outcome for the major characters feels authentic and never gaudy.

Director Hugh Wilson also attempts to add some seriousness to the proceedings, throwing in moments where the music grows more somber and the audience is cued to «feel» for the lead characters; these moments are at odds with the majority of the film, which often asks the viewer to not just laugh with, but at, the over-the-top heroines.

Working in a genre that can use visual and verbal density as a crutch, Curran creates room for his characters to think and feel and an environment that encourages his audience to do the same.

The main reason to include a romantic conflict is so the audience can feel compelled right until the end where we can feel good for the characters, and that feeling wasn't strong enough in the film.

Director James McTeigue («V for Vendetta») at least allows viewers to feel superior to the characters; he has fashioned a film where seemingly anything yelled by the audience has more thought behind it than what is happening on screen.

As deserved as Shanté's inevitable comeuppance is, Fox is able to connect with the audience so strongly that one can not help but feel for the character when her strategy starts to backfire.

The direction I felt Capcom was going into with this game was to quickly reintroduce the characters to the audience and then really drive an emphasis on the professional gaming demographic and try to hammer it as a viable option for professional competitions.

It felt like the ending only made sense for the audience, who are familiar enough with the multiple versions of the Joker, not the characters, who should only be familiar with a particular version.

What Eddie the Eagle does share with Cool Runnings and so many other compelling underdog stories, though, is a compelling evolution for its main characters — both the athletes and their mentors — that makes both their journeys and the one the audience takes with them feel worthwhile.