Sentences with phrase «audience for a movie like»

It's nearly impossible to ignore the immediate urge to see a movie about Nic Cage desperately wanting to murder his children — I'm pretty sure the audience for a movie like Brian Taylor's Mom and Dad is literally everyone.

, attempting a Quebecois accent — a little like Keanu Reeves trying not to do a baked accent) are so gay that it's almost possible to see the film as a comment that the real audience for movies like this are pre-sexual little boys and homosexual big boys.

A colleague of mine suggested that ultra-liberal, New Yorker readers might be the intended audience for a movie like this.

Not exact matches

Many major blockbusters, like 2009's «Watchmen», were heavily cut for Middle East audiences, which critics said led to the movie being «near incomprehensible.»

That's been true for the thrill - seeking fans of movies like «Raiders of the Lost Ark» and audiences that prefer more thoughtful releases such as «Lincoln» almost six years ago.

«Such an experience gives players a space to challenge how they see the world, just as movies like Schindler's List or novels like Animal Farm, did for past audiences,» said Bowman.

You are raising kids; you write book after book for general audience in addition to research paper after research paper for a lay audience; you love, you know, regular stuff like Bugs Bunny cartoons and Mel Brooks movies and baseball — he's a Boston Red Sox fan [but what are you gonna do?].

In the opening scenes we see him leading his forces into battle against the barbarous Germans, who deserve everything they get for cutting off the head of the luckless Roman cavalryman despatched to issue a surrender ultimatum (like most mainstream movies, Gladiator is strong on audience emotion cues to nudge us in the right direction.

If the movie scores at the box office, it will be for reasons that are both disquieting and understandable: Gladiator is pitched to an audience that wants, more and more, to be spoon - fed (it's movies like this that help create that audience), but it accomplishes the task with pace, visual grit, and a roster of appealing actors.

But unlike so many other recent (or upcoming) Hollywood products, it was made from an original screenplay (Faber and Fisher previously wrote for TV sitcoms); it didn't come from a source that audiences are already familiar with, like an old television show or a previous movie.

If audiences still exist for movies like this and debate them afterward — if, that is, not every single moviegoer in America is lost to mindless narcissistic self - indulgence — the arguments afterward will be the real show.

He also allows his actors to look like true movie stars, even though most of the audience may have never seem them before (except for John Cho).

Its story of a sadistic plutocrat who likes to punish women in his sex dungeon and insist that they sign nondisclosure agreements accounts for millions of book sales and a billion - dollar movie franchise, consumed eagerly by an enthusiastic female audience.

To be fair, I'm probably pretty far from the intended target audience for this movie, and I'm sure those who enjoyed the first two films will find plenty to like here.

My only consolation in seeing this horrible movie exist is that it wraps up the awful Alessa story and tells the audience that it's opening things up for the far superior one - shot twilight zone stories about individuals being tormented in Silent Hill, a place they can never understand, like James Sutherland.

WARNING: this movie is NOT for a general audience like all books are not written for one person, etc..

The movie is an obvious parody of sword - and martial - arts wuxia movies, but it also serves as an invitation to young audiences, who may find that Po's antics have sparked an appetite for the more grown - up pleasures of movies like «Crouching Tiger, Hidden Dragon» or «Curse of the Golden Flower.»

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.

The passing of nearly thirty years has undoubtedly bid farewell to some of the film's original audience and those taking their place are just as likely to watch a dated movie like this for the unintentional laughs as for the old - fashioned action sensibilities.

by Walter Chaw The more cynical among us would note that the title might also refer to the time that movies exactly like Taking Lives have stolen from hapless audiences, but the fact of it is that if not for our mortal curiosity, we might have missed genuinely good mad - dog killer flicks like Henry: Portrait of a Serial Killer, Manhunter, The Untold Story, and Se7en.

The movie feels like it's made for a modern audience (which it should) and yet it captures the feel of the past.

It's maybe not the movie for audiences who absolutely insist on a plot — The Guardian, in a 4/5 review, calls it «a film about nothing specific» — but if you're willing to just give yourself over to the experience, 20th Century Women looks like a warmhearted dramedy.

Bone Tomahawk is a strange movie that feels like it is made for a very specific audience.

All this sounds like the plot of Tyler Perry's first movie for a Jewish audience, and yet the movie chooses to examine these titillations with the furrowed - brow sobriety of a Talmudic scholar.

It's quite satisfying — or as satisfying as a movie can be when it, like «The Empire Strikes Back,» leaves the audience hanging for what happens next.

For most of us, lousy acting and a lack of cinematic charisma would quickly kill our budding career, and then there are some — like Reynolds — who keep making movies and being cast regardless of audience appeal — until they strike gold.

That's the only way reviews have ever worked for a mainstream audience, be it as part of the captive audience for weekly reviews as part of a newscast, as a column in a popular magazine or newspaper, on its own as in shows like Siskel & Ebert At The Movies, or even in print — Leonard Maltin, another beloved film critic and film historian, established his name writing a book of capsule reviews.

I haven't seen this prequel yet, but I can tell that it's a yabba - dabba - dud just like the first movie because I read in the Denver Rocky Mountain News that the movie opens with an obscene flatulence joke courtesy of a dinosaur, to show only how much contempt the filmmakers have for the audience.

I suppose it's fitting for two older comedic actors like Vaughn and Wilson to try to sell their shtick to what will likely be a younger movie - going audience, playing two older salesmen trying to fit in with a younger tech - savvy crowd.

For the kids in the audience, a movie like this will work because it tells a fun story, contains a lot of humor, and is exciting to watch.

For all future filmmakers who are thinking of more B - movies to remake for today's audience: maybe there is a reason they don't make»em like they used For all future filmmakers who are thinking of more B - movies to remake for today's audience: maybe there is a reason they don't make»em like they used for today's audience: maybe there is a reason they don't make»em like they used to.

Rated PG - 13, the film relies on the fact that the bulk of its audience will be teenagers who haven't previously seen hundreds of (better - executed) stories just like this one, and those are the people for whom this movie will work.

Who wouldn't want to see a character like Terence Fletcher, played by J.K. Simmons (Juno, Upcoming Justice League movie as Commissioner Gordon) in front of a live audience, using funny profanity, hollering, and acting like a maniac at a lovable character like Andrew Neiman, played by Miles Teller (War Dogs, Bleed for This)?

When they used to make movies like these (All the President's Men, for example), they presumed a certain level of intelligence in the audience or, failing that, an attention span and a feeling of sobriety before a great national shame.

Of course, as The A.V. Club reported last year, women made up the majority of movie audiences for the fourth year in a row in 2013, and they like action - packed superhero movies, though they prefer them with female protagonists.

Movies by director like Chabrol or Costa - Gavras are intended for the more literate section of the movie audience.

At the very least, it's good to have a movie like this able to find an audience, because this feels like the kind of comedy that otherwise might not get any interest for a studio.

The movie also goes on too long, has implausible moments where characters should die and don't, and features superficial touches that leave the audience yearning for more (like story details and the underdeveloped characters).

As for a Cloverfield 2, success wouldn't be a sure thing, even with a small budget, as the original film's reception was far loss positive amongst audiences than a similarly Internet - buzzing and viral marketed movie like Saw.

Also, good friend of the show Christopher Jason Bell sits down for a snack - «n» - chat with Bernard to talk about what it's like to be an independent filmmaker presenting a movie at a film festival and conducting a Q&A with a (sometimes tiny) audience.

If you wrote a script for a movie that closely represented events in your life — in effect making a biopic not about Napoleon or Jesse Owens but about a run - of - the - person like most of us — do you think you could interest a solid audience to eavesdrop on your existence?

Wes Anderson movies are possibly the closest thing to an event movie for the... I was going to say something like «indie nerd cinephile set,» but the truth is Anderson's films are beloved by all kinds of audiences — those who love tentpoles, cineastes, sci - fi aficionados, etc..

And then commercially, a movie like this or «Heaven Is for Real,» if these movies work commercially, and I benefit from that, I benefit from it because creatively we got to where we wanted to be, and it connects to an audience.

The Movie has alot of action, good actor's, keeps you interested, you won't fall a sleep in this movie, but this movie like spider man and the green lantern, is for a much younger viewing audience, all in all the movie does well, I give it (2 out of 5) sMovie has alot of action, good actor's, keeps you interested, you won't fall a sleep in this movie, but this movie like spider man and the green lantern, is for a much younger viewing audience, all in all the movie does well, I give it (2 out of 5) smovie, but this movie like spider man and the green lantern, is for a much younger viewing audience, all in all the movie does well, I give it (2 out of 5) smovie like spider man and the green lantern, is for a much younger viewing audience, all in all the movie does well, I give it (2 out of 5) smovie does well, I give it (2 out of 5) stars.

It goes deeper than Gross Anatomy, thankfully, while also trying to suss out where the future lay for movies like this as audiences» tastes and studio indulgences changed.

Beyond the buzzed about Centerpiece screenings (which includes The Good Lie, St. Vincent, Laggies, and the Toronto International Film Festival Audience Award winner The Imitation Game), Philly's screenings includes programs like «Greater Filmadelphia» (with work from Philadelphia's home grown talent), «Masters of Cinema» (movies from world - renowned filmmakers), and «The Graveyard Shift» (horror, action, and anything weird), providing a variety of options for audiences of all tastes.

Over the years, many comedic ensembles have assembled for cross-country racing movies like It's A Mad, Mad, Mad, Mad World, Cannonball Run, Speed Zone, Rat Race, etc. — grim, cautionary tales that disquieted audiences with their graphic portrayal of traffic accidents, and drivers who have a reckless disregard for...

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.

This is, essentially, a movie that has no idea of whom its audience consists, or better, it's a movie that realizes its audience will be made up of two different age groups: adult fans of the book and children who like animated movies or whose parents believe introducing their kids to this material will be good for them.

There's no better time of year for fans of classic cinema, no better place to watch classic films than movie palaces like the Chinese and Egyptian Theatres in the heart of Hollywood, and no better audiences to watch films with hundreds of people who love the classics as much as you do.