Sentences with phrase «audience score in»

Focus Features» Wim Wenders doc Pope Francis: A Man of His Word, collected $ 480K at 346 sites, with a 92 % audience score in the top two boxes and an 82 % definite recommend from its audience.

Not exact matches

Suddenly, the freshness rating of a film became more important than audience interest in terms of success — even though data scientists have found that the score doesn't affect the box office.

Winning an audience and scoring new business have much in common.

Original content has proven a big draw for video - streaming platforms such as Netflix, Amazon, Hulu and HBO GO: HBO's Game of Thrones alone scored the network its largest audience ever, while Netflix's original series of Marvel's Daredevil grabbed nearly 4.4 million viewers in its first 11 days.

Better yet, find leads already in your database by using Umbel's lookalike lead scoring based on every data point you have on your audience.

Which means that somehow director Matt Reeves (Cloverfield, 10 Cloverfield Lane) keeps the audience gripped in suspense for nearly two and a half hours largely with facial expressions, minimal dialogue, a sparse but hard - hitting score, and stunningly beautiful cinematography.

He announced himself to the wider footballing audience in October thanks to his brilliant goal and subsequent passionate celebration in a 4 - 3 win over Sassuolo, and then gazumped himself by scoring the winner against Juventus a couple of weeks later.

Intriguingly, an analysis of movie music scores shows that film - makers use highly non-linear sounds to evoke a stronger emotional response in their audience.

«For instance, there might be a university that has no A [score] in internationalization» because it is serves primarily a local or national audience, Ziegele says.

Players build audiences for their fake news sites by publishing polarising falsehoods, deploying twitter bots, photo - shopping evidence, and inciting conspiracy theories in the wake of public tragedy — all while maintaining a «credibility score» to remain as persuasive as possible.

In a predominate palette of black and silver with splashes of white and red, the oil slick leather - like cocktail dress and the gorgeous floral embroidered sheath turned plenty of heads, but it was the red carpet - worthy beaded fit - and - flare frock along with the peplum tulle ball gown that drew scores of audible oohs and aahs from the audience.

As compared to what Russian women find attractive in men, the importance of integrity was lower for the male audience: Loyalty and decency, along with honesty, scored 28 % in total (while for ladies the combined result was 60 %).

Meanwhile, Mica Levi's score plays directly on the audience's nerves, mirroring the movie in the way it uses recognizable instruments and to disorient viewers.

But those whale - sounding synths recall in fits Arrival's score, and by association how much better that film handled a story with open - ended questions; also, how confident you felt its mysteries were by design, and how its open - endedness encouraged the audience to range and ruminate.

And I'm not even suggesting that the professional and audience scores are wrong, but I just think that the film, in a lot of respects, didn't really get a fair shot.

The fact that these two brothers get a kick out of excessively lowbrow toilet humor — and the fact that their massive audiences also enjoy this sort of sub-sophomoric humor, in droves no less — is taken as a signifier that the country is on some sort of massive mental downturn, with projected results of deflated math scores and wanton pie - throwing in the streets.

On top of the acting, the visual artistry in this movie and the beautiful, almost peaceful score truly create an escape for the audience in such a way that it is hard to imagine this movie without them.

This film is actually terrible — I mean, yeah — it is scary in the sense that its creepy, but I think, really, the film is just the byproduct of global DVD residuals from the directors father — allowing Panatos to string together a series of overproduced, overgrained interior sequences, cheap synth score and a slasher movie ending, and trying to pass it off as a «cult movie», when really we, the audience, need to know who, what or where the protagonist is coming from, what her dramatic need is, who she interacts with, and so on.

The Las Vegas company builds its rankings by presenting opening - day audiences with survey cards after seeing a film, compiling scores from tests in five randomly selected cities.

It became a huge hit, and when «The Sopranos» debuted six months later, HBO got an unprecedented one - two punch, with comedy and drama series that could score big in industry awards, media coverage and audience buzz.

Dealt Not Rated Rotten Tomatoes Score: 95 % Available on Disc and Streaming For decades, Richard Turner has been one of the premier up close magicians at the infamous Magic Castle in Hollywood, wowing audiences with his unbelievable sleight of hand.

Atom soon scores a couple of upset victories against larger opponents in front of audiences full of what appear to be Mad Max extras.

Based on Yousef's 2010 memoir Son Of Hamas, Nadav Schirman's film — an audience prizewinner at Sundance in January — briskly runs down a decade - plus of double - dealing on the front lines of the Israeli - Palestinian conflict, offsetting the interview footage with archival news reports, a crashing orchestral score by Max Richter, and staged aerial surveillance shots, tinted night - vision green for maximum atmosphere.

And as in Blade Runner, Villeneuve's movie builds its world as much sonically as visually, plunging the audience into a cacophony of electronic klaxons, polyglot crowd - chatter, and invasive talking advertisements, accompanied by Hans Zimmer and Benjamin Wallfisch's score, which tastefully incorporates key phrases from Vangelis's masterful electro — prog rock soundtrack from 1982.

Captain Underpants: The Epic First Movie Rated PG for mild rude humor throughout Rotten Tomatoes Score: 87 % In spite of great reviews from both critics and audiences, as well as a large base of fans of their kids graphic novels, this animated superhero flick landed with a relative thud in theaterIn spite of great reviews from both critics and audiences, as well as a large base of fans of their kids graphic novels, this animated superhero flick landed with a relative thud in theaterin theaters.

However The Amazing Spider - Man 2's lukewarm 54 % critics score and 75 % audience score could speak volumes in terms of the film's second weekend earnings decline.

Jeff Grace An assistant to Howard Shore from 2001 - 2004, helping out with projects like Peter Jackson's «The Lord of the Rings» trilogy and Martin Scorsese's «Gangs of New York,» American composer Jeff Grace first caught our ear in 2010 with the moody and scorching score for «Meek's Cutoff» and it turns out we had heard him before, quietly helping to unnerve the audience on Ti West's «House Of The Devil.»

Mel Gibson's bloody World War II drama «Hacksaw Ridge» scored with critics and audiences in Venice, who praised Andrew Garfield's performance as a Pacifist medic trying to save his fellow soldiers on the battlefield; he landed Critics Choice, Golden Globe SAG, and BAFTA nominations.

The Score is drawn from critics» reviews (and is not an average review score, instead based on a binary total of «good» and «bad» reviews), and it can often stand in strong contrast to the Audience Score, which is based on the opinions of average moviegScore is drawn from critics» reviews (and is not an average review score, instead based on a binary total of «good» and «bad» reviews), and it can often stand in strong contrast to the Audience Score, which is based on the opinions of average moviegscore, instead based on a binary total of «good» and «bad» reviews), and it can often stand in strong contrast to the Audience Score, which is based on the opinions of average moviegScore, which is based on the opinions of average moviegoers.

Scoring back - to - back strong showings in Role Models and I Love You, Man, Rudd had seemingly arrived, at least in movies that didn't rely solely on him to get audiences in seats.

Amazon's heart - wrenching and inspiring documentary about former National Football League player Steve Gleason, who is paralyzed from the neck down due to complications from ALS, scored big with audiences — including Best Supporting Actor nominee Michael Shannon — but failed to pick up an Oscar nomination in one of the deepest documentary fields in years.

Emotional moments in the film fall flat due to lack of on - screen chemistry and a score that disrespects the audience.

By largely removing audiences under the age of 18 (face it, few parents are going to want to take their children to a film that includes a song called «Holy S — balls» in its score), that's effectively surrendering potential box office earnings from the young demographic most likely to identify with Deadpool's antics.

This score is likely to push him considerably further into prominence if the film manages to attract an audience in the rest of the world.

Part of this is because Anderson is so talented a director that he knows how to use the score and camera movement to evoke feelings in the audience, and he pulls the strings of your emotions, and with cocky arrogance doesn't mind that we know full well we are being manipulated.

Born in China goes overboard here to reach a kiddie audience — every animal gets a cute name, their antics are often scored to jaunty music, and John Krasinski provides the sugary narration — «all she wants,» he says of a mother panda, «is to smother this baby with love.»

Cinema Eyes Honors: Outstanding Achievement in Direction, Audience Choice, Outstanding Achievement in Editing, Outstanding Achievement in Nonfiction Feature Filmmaking, Outstanding Achievement in Original Music Score

Green's «Joe» didn't quite get a fair shake in theaters this year — it seemed to split the difference between the mainstream audiences who don't care for Nicolas Cage in a non-going-big performance and indie audiences who didn't know what to do with him, but it's an underrated picture, and Wingo and McIlwain can place another feather in their cap for this moody and memorable score.

Whipp: Ron Howard's racing movie, «Rush,» didn't find the audience it deserved, but enough academy members might have seen it to score deserved nominations for Daniel Brühl in supporting actor and cinematographer Anthony Dod Mantle.

It's shot in black and white which adds some style, and it has a haunting score by Abel Korzeniowski (of A Single Man, W.E.), but this is a film that is destined to be loved by a small audience, and be much more of a cult classic than anything.

Scored lightly by a series of Brian Eno compositions, The Jacket is an apocalyptic poem of love and loss that's unusually wise about its visual vocabulary — about ways of looking, the line between dreaming and reality, and how eyes on film can be a powerful and elastic metaphor for the audience engaged in a kind of liquid dreaming.

The adrenaline rises for everyone involved, not least of whom being the audience, as Creevy proves himself a very assured director of slick action sequences, matching that truly breathtaking cinematography by Ed Wild with a killer score by Harry Escott and giving his second feature a pop that instantly pulls you in.

When the games commence, the triumphs of this film adaptation scurry to the forefront, including the sound design, and the score by T - Bone Burnett and James Newton Howard, which nicely steps in for the bloodcurdling screams of dying teens perhaps too terrible for the target YA audience.

, Syd Garon (CEH15, Outstanding Graphic Design, Jodorowsky's Dune), Eugene Hernandez (Deputy Director, Film Society at Lincoln Center), Eric Hynes (Associate Curator of Film, Museum of the Moving Image), Jason Ishikawa (Head of International Sales, Cinetic Media), Steve James (CEH12 Winner, Outstanding Feature & Direction, The Interrupters), Kirsten Johnson (CEH17 Winner, Outstanding Feature & Cinematography, Cameraperson), John Kusiak (CEH12 Winner, Outstanding Score, Tabloid), Loira Limbal (Vice President, Firelight Media), Elizabeth Lo (CEH16 Winner, Outstanding Nonfiction Short Film, Hotel 22), Michal Marczak (CEH17 Winner, Heterodox Award, All These Sleepless Nights), Marilyn Ness (CEH17 Winner, Outstanding Feature, Cameraperson), Dan Nuxoll (Artistic Director, Rooftop Films), Bill Ross (CEH13 Nominee, Outstanding Direction, Tchoupitoulas; CEH16 Nominee, Cinematography, Western), Kelli Scarr (CEH09 Nominee, Outstanding Score, In a Dream), Mo Scarpelli (CEH16 Nominee, Spotlight Award, Frame by Frame), Jess Search (Chief Executive, The Doc Society), Signe, Byrge Sorensen (CEH16 Winner, Outstanding Feature Film & Production, The Look of Silence), Jean Tsien (Editor of CEH17 Audience Nominee Miss Sharon Jones!)

With this horror masterpiece, director Tobe Hooper sidestepped all the horror gimmicks audiences had grown accustomed to — a spooky score that let you know when to grow tense, shadowy interiors that predicted oncoming scares — and instead shot guerilla - style in broad daylight, outdoors, with no score at all.

On top of everything else — the preposterous leaps in logic, the treacly score from Mychael Danna, the numerous scenes where unattended children get way too real in conversations with an elderly man — Remember's final minutes lay on its audience the kind of silly, overwrought twist that Charlie Kaufman's brother in Adaptation would devise.

More than 50 years after Madeleine L'Engle's young adult novel «A Wrinkle in Time» was awarded the prestigious Newbery Medal, the big - screen retelling of this timeless classic takes audiences on a transformative journey, exquisitely illustrated through jaw - dropping visual effects, a stirring musical score and diverse, star - studded cast.

And not only is it not in the Razzie conversation but it actually achieved a reasonably large scale commercial release (shocking), where it made a surprising amount of money (more shocking), and scored well with both critics and audiences (most shocking).

The Sundance winning documentary that wowed cinema audiences last November and December is also up for another IFTA as Crowded House musician Nick Seymour has been nominated in the Best Original Score category for his work on the film.

You'd think after scoring the highest - grossing opening weekend with «Marvel's The Avengers,» that Marvel Studios execs would be content to bask in the critical acclaim, overwhelmingly positive audience reaction of their mega-summer franchise.