Sentences with phrase «audience reactions to a film»

The Twitter feed @WeBoughtAZoo stayed busy all evening retweeting audience reactions to the film.

Audience reaction to the film went through the roof, with spontaneous eruptions of applause midway through both the press screening and the black - tie premiere.

Not exact matches

Although slight in plot, the film is interesting because the three principal Keystone actors appear without comic makeup and because the audience can observe the mirthful reactions of the real dancers in the hall to the comic fight between Chaplin and Sterling.

It was filmed without a live audience, yet the laugh track was actually a recording of an audiences» reactions while watching the episode, to give the illusion of a live audience.

As an uberfan of the so - bad - it's - good masterpiece The Room and a solid admirer of The Disaster Artist, The Room co-star Greg Sestero's tell - all book about the making of mysterious vampiric figure Tommy Wiseau's «Tennessee Williams style melodrama as told by an alien who has apparently never seen normal human beings interact» drama - turned - dark - comedy - after - initial - audience - reactions - full - of - howling - laughter, I was a bit reserved in my excitement when I found out that James Franco was going to direct the film adaptation, as well as portraying Wiseau himself.

Those films are similarly engineered to produce a powerful reaction in audiences — but that reaction is a nuanced and stubbornly difficult one.

Unfortunately for Oliver Stone, there is no magical screenwriter in the sky that can pen the perfect audience reaction to his latest film.

While the film I happened to catch — Mikael Buch's small - scale drama Simon & Theodore — was fine enough, I would have paid double to simply witness the audience reaction to another TJFF selection: Sebastian Lelio's taboo - busting romance, Disobedience.

Fans of Jason Statham will no doubt have some fun with Killer Elite and there's one show - stopping moment in the first Statham / Owen brawl that will certainly get a reaction from audiences, but for anyone looking for either an over-the-top action flick or a smart - witted political thriller, the film fails to live up to the sum of its respective parts.

While it's entirely possible that «Demon» will appeal more to U.S. audiences after its June 24 release than it did to critics who saw the film at Cannes, at the festival, Refn said his intention was to make a «primal» movie that featured heightened reality in a way that could provoke drastically different reactions from viewers.

After watching a film like Pulse, I feel a bit insulted that movie executives think so little about the intelligence of the American movie - going public that the vast majority of the attempts at popular entertainment are completely stripped of anything remotely resembling a thought - provoking element, eschewing those in favor of noise, special effects and music stimuli to try to induce a subconscious reaction in the audience.

There's much to admire in Whiplash, and if audience reaction is used as measurement of a film's success you'd think Whiplash was the greatest film out of Cannes, not just the Director's Fortnight where the year's Sundance hit usually lands.

Reaction to the premiere was mixed, as the film elicited both cheers and boos from the audience.

Academy - award winning director William Friedkin discusses his early career — including making documentaries for David L. Wolper, working for Alfred Hitchcock and what he learned from studying his films, and directing his first movie Good Times (1967), starring Sonny and Cher; how his career path led to making The Exorcist, his initial reaction to reading the source material, the story's theme of Good versus Evil, and the role his own faith played in his approach to making the movie; the techniques he used to generate suspense and fear in the audience, his use of subliminal imagery, and his reasons for recently restoring deleted footage to the film.

It is not a stretch to imagine the reaction of audiences in 1985; the film has retained that rare magic twenty - five years on.

Here are some of the reactions from critics and audiences that were lucky enough to attend and have now seen the film.

Being a low - budget film from Canada without an easily marketable premise, «Still Mine» is only gradually opening up in these parts in a few cities and its chances of expanding any wider are almost totally dependent on generating a positive word of mouth reaction amongst audiences that will hopefully lead to more people deciding to give it a chance instead of blowing their money on the likes of «Grown Ups 2.»

Egoyan's films often follow non-linear plot - structures, in which events are placed out of sequence in order to elicit specific emotional reactions from the audience by withholding key information.

At the world premiere of The Walk at the New York film festival, audience reactions varied on Joseph Gordon - Levitt's portrayal of high - wire artist Philippe Petit — but most were happy to see the twin towers of the World Trade Center rise again

Diaz spends most of the film with Applegate, and they have an unforced, cutesy girly - girl best friend rapport, but one wishes Kumble and Pimental gave them more to do than just goof off and make faces at each other and the audience, often while delivering lame dialogue such as (in reaction to seeing Jane's boyfriend nude) «Oh my cock!»

Having already played at a number of film festivals (most notably Cannes) and opening in other countries prior to its U.S. release, reactions to the movie have been extremely positive, although it's still hard to tell whether it will appeal to a mainstream audience.

Bloody Disgusting had a chance to speak with Refn and the film's composer Cliff Martinez about the film and their thoughts on the initial audience reactions and the commercial potential of it as well.

The purpoted beef between director Steve McQueen and screenwriter John Ridley aside, most of the controversy surrounding the Best Picture - winning «12 Years A Slave» has centered on audience's reactions to the film, both of Armond White and uneasy white Academy voters.

So is that then also being emotionally manipulative, isn't any film trying to elicit any strong reaction out of an audience — whether it be scares, laughs, or tears — technically guilty of manipulation?

While that makes for a wide divide in audience reaction (something less reflected in critics» views), it is still easy to take Anderson objectively as a serious maker of wry films.

And it is not hard to imagine such pulse and respiratory data influencing the way directors and editors put together their films, much the way test - audience reactions can lead film - makers to drop certain scenes, or even to change a movie's ending entirely.

When two characters at a café talk about Bazin's «holy moment» on a virtual movie screen, with the eternally unnamed protagonist mirroring our reactions in a darkened theater, Linklater audaciously crumbles the space separating the audience and the film even as the picture attacks the malaise of the day - to - day.

It isn't big or fancy, but rather the sweetest, most heartfelt moment in any Pixar film to date, with a reaction shot that will elicit the exact same response from the audience as it does from the character on screen.

When Wiseau's antics begin to stretch beyond the unbelievable the film is clever enough to ground itself through the reactions of Wiseau's cast and crew - all who respond to Wiseau's many WTF moments with what we, the audience, are all thinking... is this guy for real?

It's also telling how some who saw the film have pointed out that they, along with most of the people attending that screening, were basically the perfect audience for the film to pander to, which does call into question whether the positive reactions will be shared among those who aren't in the target demographic.

His story is told by a self - aware narrator in Harry, who not only helps with the segues, but also is aware that he is presenting the story to a movie audience, savvy about the reactions the film will receive among the audience.

Striped of its international cinema release by Paramount Studios due to worries that it was too cerebral for audiences, Annihilation (based on the novel by Jeff VanderMeer) comes to Netflix on more of a positive wave of critical reaction than the two sci - fi streaming flicks before it, two films which have done a great detriment to Netflix's standing as a major film studio competitor, only enforcing the notion that the streaming service is becoming a dumping ground for doomed movies.

Nate Parker's film is a stunning case study in audience reactions to issues not exactly on the screen itself.

Although Bernard says that he is not particularly swayed by Sundance audience reactions, the Miles Teller drummer drama happened to be a case where his taste aligned with Sundance goers — just this weekend, the film won both the grand jury and audience awards in the U.S. dramatic film competition.

«The Artist» — being a black - and - white silent film with no major stars — needed that early Cannes love and push, but this is a different animal, a film strictly in the crowdpleaser mode that seems far more suited to a Telluride or TIFF premiere where audience reaction and buzz will much more helpful for this film's inevitable Oscar campaign.

This year's Sundance coverage, like all film festival coverage before it, seemed to take special note of audience reactions to the entries — the tears shed at the Roger Ebert documentary Life Itself; the standing ovation that followed the premiere of Zach Braff's Kickstarter - funded Wish I Was Here, etc..

It's definitely not a film for everyone - and one hesitates to imagine the reaction if the director was a man - but Innocence is a film that dares to be different, dares to let the audience fill in the gaps and dares to imagine a time when children truly were innocent.

When the film opens, Barrie (masterfully played by Johnny Depp) nervously awaits the audience's reaction to his new play.

Works of this period included Auditorium (1994), a film made with composer Ron Geesin, in which we are taken to a variety show, but are only allowed to see the audience's reactions; the results are hilarious and touching.