Sentences with phrase «audience year in and year out»

Now well into his 80s, the man consistently brings high quality movies to a new audience year in and year out, with a great deal of conviction and grace.

Not exact matches

(Shipp, Gibbs, and Simmons specialize in young audiences, although Shipp — father of a 1 - year - old — anticipates switching to parents and teachers when he grays out of the cool - big - brother persona.)

There is consolation in the fact that the Times is bought by less than one out of twenty people in the New York area, and the audience for television networks and movies has been declining for years.

And some 4,000 years later, a lawyer told an audience in Athens, Greece, that God «made out of one man every nation of men, to dwell upon the entire surface of the earth, and he decreed the appointed times and the set limits of the dwelling of men.&raqAnd some 4,000 years later, a lawyer told an audience in Athens, Greece, that God «made out of one man every nation of men, to dwell upon the entire surface of the earth, and he decreed the appointed times and the set limits of the dwelling of men.&raqand he decreed the appointed times and the set limits of the dwelling of men.&raqand the set limits of the dwelling of men.»

It's that time of year where Christmas pantomimes come out in force and audiences everywhere are encouraged to hiss, boo loudly or shout: «He's behind you».

He's not a little kid performing for his mom and dad (although his 90 - year - old parents were in the audience, and he dedicated a song to them; the lyrics involved «running out of gas in the tank.»)

They were clearly the target audience for a groundbreaking report out in June this year called Risky Business, which used a risk management perspective to lay out the threat to agriculture, energy and coastal real estate in the US.

The former foreign secretary told the audience that each time Labour had been thrown out of government they had stayed in opposition for between 14 and 18 years.

Earlier this year, it participated in InnovFest unBound, Asia's premier technology transfer event organised by NUS Enterprise aimed at showcasing Asian innovation to a global audience and taking technology out to the market.

Inclov plans to reach out to a global audience and will be launched in Australia by the end of this year.

And in the 15 years since Peter Jackson introduced filmgoing audiences to the wonders of 48 frame - per - second 3D elves and dwarves and wizards and hobbits, they've finally figured out a way to make it look like real life, only more And in the 15 years since Peter Jackson introduced filmgoing audiences to the wonders of 48 frame - per - second 3D elves and dwarves and wizards and hobbits, they've finally figured out a way to make it look like real life, only more and dwarves and wizards and hobbits, they've finally figured out a way to make it look like real life, only more and wizards and hobbits, they've finally figured out a way to make it look like real life, only more and hobbits, they've finally figured out a way to make it look like real life, only more so.

And here, as in last year's I Now Pronounce You Chuck and Larry, Sandler interestingly attempts to blend genuine social commentary with copious gross - out humor in much the same way that Mel Brooks did in Blazing Saddles (a movie that, beyond the beans - around - the - campfire gags, wore its heart so firmly on its sleeve in favor of racial brotherhood that it stopped just short of singing «Kumbaya» to its audience); Sandler, who's admirably never been shy about proudly proclaiming his Jewishness, takes on xenophobia, suggests that Israelis and Palestinians CAN get along and — most controversially of all, perhaps — makes a case that disco music CAN be enjoyable in the right time and plaAnd here, as in last year's I Now Pronounce You Chuck and Larry, Sandler interestingly attempts to blend genuine social commentary with copious gross - out humor in much the same way that Mel Brooks did in Blazing Saddles (a movie that, beyond the beans - around - the - campfire gags, wore its heart so firmly on its sleeve in favor of racial brotherhood that it stopped just short of singing «Kumbaya» to its audience); Sandler, who's admirably never been shy about proudly proclaiming his Jewishness, takes on xenophobia, suggests that Israelis and Palestinians CAN get along and — most controversially of all, perhaps — makes a case that disco music CAN be enjoyable in the right time and plaand Larry, Sandler interestingly attempts to blend genuine social commentary with copious gross - out humor in much the same way that Mel Brooks did in Blazing Saddles (a movie that, beyond the beans - around - the - campfire gags, wore its heart so firmly on its sleeve in favor of racial brotherhood that it stopped just short of singing «Kumbaya» to its audience); Sandler, who's admirably never been shy about proudly proclaiming his Jewishness, takes on xenophobia, suggests that Israelis and Palestinians CAN get along and — most controversially of all, perhaps — makes a case that disco music CAN be enjoyable in the right time and plaand Palestinians CAN get along and — most controversially of all, perhaps — makes a case that disco music CAN be enjoyable in the right time and plaand — most controversially of all, perhaps — makes a case that disco music CAN be enjoyable in the right time and plaand place.

Two films came out this year that had brilliant cinematography and very little dialogue, the difference is mad max didn't put me to sleep and it had action scenes that pushed the story forward rather than happen in the background and force the audience to squint to even make out what's happening.

Horror still reigns in Park City Extending a tradition that's already stretched from The Babadook and The Witch to Get Out, Sundance proved a dependable launching pad for standout horror: This year's Hereditary — a nightmarish supernatural grief drama starring an unhinged Toni Collette — was the one film that came closest to a consensus favorite (if by favorite, we mean a movie that thoroughly traumatized all audiences).

With three best - picture Oscars in the last 10 years, out of 12 nominations, the specialty film label has outpaced far bigger rivals thanks to a consistently off - beat slate of independent releases that have clicked with audiences and academy voters.

What You Need To Know: Pixar are going through a rough patch at the moment (even if we contest that «Brave» was undervalued by many, the critical consensus was that it was something of a miss), and we're not sure that their third sequel in four years is necessarily going to be the way out of it (what is the audience for a CGI animated kids flick take on «Animal House,» exactly?).

It just happens to be one in which the main character possesses no moral qualms about killing his foes, revels in the resulting carnage, swears up a storm, and is quick with a pop - culture reference for any situation (All of those references are about 20 years out - of - date, because they're what the target audience is familiar with and apparently wants to hear).

Additionally, there are sequences of bombing that are just as terrifying now as they must have been to audiences at the time (remember, the film came out in 1942, and the war didn't end for another three years!).

That ended up not quite being the case, but as audiences at both Telluride and TIFF have subsequently discovered, it's a genuinely phenomenal piece of work, and one of the best films to come out of the studio system in years.

True, her Betsy - Wetsy kewpie doll elocution and its attendant dead eyes — which wore out their welcome almost the second she trotted them out for an incredulous audience about twenty - six years ago — are in full - bore here, but what makes Along for the Ride, in which she plays the title role, so abominable are such exchanges as this one:

«We are looking forward to sharing Lover For a Day with arthouse crowds, fans of Garrel and French cinema, as well as younger audiences / students who can relate to the two protagonists — especially Esther Garrel's growing fan base given the break - out year she has had, with an impressive performance in Luca Guadagnino's Call Me By Your Name in addition to her leading role in Lover For a Day,» commented Kasman.

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.

While I'm at least thankful that Kasdan and Apatow tried to make something different here, especially as it isn't nearly as formulaic as many other spoofs that have come out in recent years, I just think their target is too broad and the target audience too limited.

After all these years and episodes we are grateful for any and all audience that hangs with us, week in and week out.

And despite most of the characters having already been introduced and fleshed out prior to the events of the film, Infinity War will still have to make time for each to get their own moment to shine, while also making way for Josh Brolin's Thanos, who audiences will finally get to spend some real time with after years of cameo appearances in previous Marvel filAnd despite most of the characters having already been introduced and fleshed out prior to the events of the film, Infinity War will still have to make time for each to get their own moment to shine, while also making way for Josh Brolin's Thanos, who audiences will finally get to spend some real time with after years of cameo appearances in previous Marvel filand fleshed out prior to the events of the film, Infinity War will still have to make time for each to get their own moment to shine, while also making way for Josh Brolin's Thanos, who audiences will finally get to spend some real time with after years of cameo appearances in previous Marvel films.

With its dark humor and complicated characters and themes — a mother out to avenge her daughter's rape and murder, a suggestion of police brutality against black residents — «Three Billboards» made an early splash with critics and audiences at the Venice Film Festival in September and then at the Toronto International Film Festival in October, where it won the audience award and was hailed by some as one of the year's best.

The audience meets them all via Carl (Tom Sturridge) an 18 - year - old newly expelled from school and sent to live on the ship by his glamorous and slightly scandalous mother in order to sort himself out.

For a cinephile, Film Festivals represent the utmost excitement of being among the first of audiences to partake in the year's newest cinematic offerings, and there is the anticipation of sussing out the buzz - worthy from the non-starters; the good from the bad.

It's one of the better horror films to come out of Sundance in years and I'm hopeful it will find an audience in North America.

2014 didn't have a cult film in the making like What We Do in the Shadows, or a true sleeper like Straight Outta Compton (or Spy, for that matter), or a blockbuster hitting the sweet spot for audiences and critics alike like Mad Max has done, or a traditional standalone nonfranchise blockbuster like The Martian, or an animated film with the acclaim of Inside Out, or a little horror movie that could like It Follows, or an unexpected independent drama that ran forever like Room....2015 was a year like 1999 or 1994.

... «Following in the footsteps of the truly inspired Inside Out, this year's second Pixar effort can't help but feel safely benign by comparison, and although it contains some darker, more intense moments, it will likely skew to younger, dino - obsessed Thanksgiving holiday audiences.»

Set in 1944 New York, the film documents the final year of Jenkins» life, as she finds a dependable pianist / composer in the ever - nervous Cosme McMoon (Simon Helberg of «The Big Bang Theory»), makes a personal recording that becomes a unlikely radio hit, and even gets to perform to an enthused sell - out audience at Carnegie Hall.

«Yes, audiences are more disposed toward being inclusive in matters of race and sexuality in the 21st century than they were in the 20th — witness the (Oscar) win by A Fantastic Woman, starring a trans actor in the leading role, as Best Foreign Film of the year, and the other major mainstream film of the year, Get Out, Jordan Peele's social critique / horror film, which also dominated at the box office.

But Punch - Drunk Love won Anderson acclaim and Best Director honors at this year's Cannes Film Festival, and so with its Stateside bow we're about to find out whether audiences like chocolate in their peanut butter, if you will — whether they're willing to accept seemingly disparate, at - odds sensibilities for the sake of new, skewed pop art.

«It was an opportunity to get these stories of diversity out to a different audience,» the 42 - year - old director and producer expressed while attending his SAG - AFTRA Foundation's Conversations panel for When We Rise at the SAG - AFTRA Foundation Screening Room held on Wednesday (April 12) in Los Angeles.

Felix Thompson's writing and editing feature debut King Jack has the kind of bare - bones plot that inspires potential audiences to think «been - there - done - that»: The film focuses on lonely, weedy small - town 15 - year - old Jack (Charlie Plummer), who's trying to dodge bullies and his overbearing big brother, and carve out a little emotional satisfaction in his barren world.

Of course, De Palma has made a number of films that were not particularly well - received when they first came out, only to grow in stature with critics and audiences over the years — «Blow Out» (1981) and «Scarface» (1983) being perhaps the best - known examples of such reevaluatioout, only to grow in stature with critics and audiences over the years — «Blow Out» (1981) and «Scarface» (1983) being perhaps the best - known examples of such reevaluatioOut» (1981) and «Scarface» (1983) being perhaps the best - known examples of such reevaluations.

Earlier this year, as winter was doing its slow fade, something happened in the world of movies you don't see too often: A film arrived out of nowhere to become a fast - break phenomenon, lionized by critics and flocked to by audiences.

That just reflects what this movie and DVD really is: one huge ego trip, and evidence doesn't come any stronger than the final special feature: a feature - length recording of the audience at film's premiere, which means lots of hooting, hollering, laughing, and approving applause — in other words, a reaction universes removed from the reality of what played out in multiplexes across the country earlier this year.

Fans will note that 2016 was an important year for Fox, as the studio found out — via Deadpool and X-Men: Apocalypse — both how big their comic - book audience is, and that there is room for flexibility in approach.

Not as commendable were the slick but forgettable Leatherface, the first disappointment by French filmmaking duo Alexandre Bustillo and Julien Maury; the Spierig Brothers» Jigsaw, part 8 of the exhausted Saw series; the dull Amityville: The Awakening by Franck Khalfoun, usually a respectable genre director, who does still add his share of clever touches (and meta moments, like when a group of teenagers watch the original Amityville Horror in the «real» Amityville haunted house, into which one's family has just moved); Open Water 3: Cage Dive, whose shark - franchise designation was tacked on as an afterthought, not that it helped to draw in audiences (in an anemic year for great whites, 47 Meters Down takes the prize for the best shark film); Jeepers Creepers 3, a super-limited release — surely in part because of director Victor Salva's history as a convicted child molester — which just a tiny bit later would probably have been shelved permanently in light of the slew of reprehensible - male - behavior outings in recent months.

We're used to the likes of Tina Fey and Ricky Gervais gleefully ripping the audience to shreds but in light of recent events this year's host, Seth Meyers, had his work cut out for him to strike the right tone.

Games such as dodgeball and other elimination or human target games have lost their audience in recent years as physical education curriculum has become infused with a greater focus on getting kids moving, and removing any opportunity for bullying or singling out students.

And this is my challenge this summer: figure out how to give my students opportunities to find problems that they are inspired to solve, as Adam Braun did when he was traveling in India; as Dan Pallotta did when he was grieving the tragedies of AIDS; as Emily Pilloton's students did when they built structures that impacted their communities; as Kevin Brookhouser's students did when they were given an entire year to pursue a personal interest and produce a genuine product for an authentic audienAnd this is my challenge this summer: figure out how to give my students opportunities to find problems that they are inspired to solve, as Adam Braun did when he was traveling in India; as Dan Pallotta did when he was grieving the tragedies of AIDS; as Emily Pilloton's students did when they built structures that impacted their communities; as Kevin Brookhouser's students did when they were given an entire year to pursue a personal interest and produce a genuine product for an authentic audienand produce a genuine product for an authentic audience.

Publishing industry events have been debating the ins and outs of reaching readers directly for several years, and companies have been exhibiting at these events for that same amount of time, promising both publishers and authors they could reach out to book audiences and seamlessly sell content, wiping out the need to pay fees or argue over how much a book should cost.

Katrina, considering the number of books being published each year, there are two things every writer should be concerned about if they want a large audience: 1) putting in the time to build your author platform, and 2) producing a book that really stands out from the crowd in terms of quality.

When A Woman in Berlin was first published anonymously in German (five years after an English language version was published in 1954) it was greeted with disgust by German audiences and quickly went out of print.

It's a known fact that so much of the work of being an author — whether traditionally or self - published — is in reaching out to potential audiences, and that traffic generated can carry a book in terms of sales for years to come.

If you're willing to stick it out for years, not weeks or months, in order to build the structures, establish your audience, and work it like the business that it is.

She predicted correctly - when she showed the diaries to her fiancé, Gerd, he returned them to her without comment, and when A Woman in Berlin was first published anonymously in German (five years after an English language version was published in 1954) it was greeted with disgust by German audiences and quickly went out of print.