Sentences with phrase «audience than on the screen»

This ground has been covered before, most obviously in Hill's «The Warriors», a controversial 1978 thriller that was credited with inspiring more fights in its audience than on the screen.

Not exact matches

Adding great customization, search and curation capability positions Texture to reach beyond traditional magazine readers to a new audience of «people who almost exclusively consume their content on the screen, rather than off the page,» says Maich.

The 3D in The Mummy is mind - blowing, and we can't wait for audiences to experience it on one of our more than 29,000 RealD - equipped screens worldwide.»

Having run continuously on Broadway for the past 28 years (longer than any in history), Alain Boublil and Claude Michel Schonberg's much - loved stage musical Les Misérables brings a well - seasoned audience frothing for an equally worthy screen adaptation.

But Annihilation is more than mere visuals and it will shock, fascinate and haunt audiences, whatever screen it's watched on.

Another standout sequence in Public Enemies is more effective for comedy than suspense, and involves Dillinger's reaction in a movie theater to an on - screen announcement warning the audience to be on the lookout for him, America's «Public Enemy # 1.»

Stay Alive spends a lot of time inside the video game system, and what will terrify the audience very early on is the realization that there's better acting in the video game than on the big screen.

It's built for a rowdy and completely disrespectful communal audience like The Rocky Horror Picture Show is, the shared appreciation more important than the content on screen.

The movie in a way reflects the notion of cinema itself, and begs to be seen in theatres on the biggest screen, urging for audiences to experience an event rather than passively «Netflix and chill».

In focusing on the audience, the fest capitalizes on the fact that we're all here and there's not much else to do than just sit in theaters all day long, arguing about the merits of cinema and drinking beer while waiting for the next screening to start.

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.

That may be because he won: The version opening on U.S. screens is the two - hour director's cut, which reportedly tested better with American test screening audiences than the shortened version.

Nolan's camera pushes the edges of the screen as far as it can — you must see this movie in IMAX and on film, rather than digital, if at all possible — as Dunkirk engulfs the audience in something that feels like a lot more than a war movie.

And, impressively, Deadpool 2 ends up being funnier than the original, assaulting its audience with a consistent stream of wickedly insightful jokes that lampoon everything from the current landscape of comic - book properties to Reynolds» own roller coaster ride as a celebrity, both on the screen and off.

And for all of Greenberg's coarseness, Stiller has, I think, never been quite this compelling on screen, this restrained, this consumed by something other than his need to mug for the audience — in a word, this human.

Rachael is the type of character specifically written to elicit cries of «bitch» and «whore» from an audience fully convinced they're smarter and better - adjusted than anyone on screen.

The horror / thriller opened on more than 2000 screens, but bad marketing and lackluster reviews prevented audiences from checking it out.

Like the Dury presented on screen, the film plays at provoking a response from the audience but doesn't give us any reason to care about Dury other than his reputation and excess.

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.

When asked at a screening in Emeryville what the impact of autonomous cars would be on future audiences for the «CARS» franchise, Lasseter seemed more bemused than worried.

From our Review: Whenever Hollywood attempts to reboot a beloved, pre-existing property on the big screen, it always feels more or less reconstructed in a way to be more accessible for all kinds of audiences, and less specific than the original incarnation may have ever been.