Sentences with phrase «audiences care about a character»

«Take Shelter» has the benefit of Michael Shannon's amazing performance, and Jeff Nichols definitely knows how to make audiences care about the characters.

Jon Favreau's Iron Man wrestles with those responsibilities as well as a relatively unique conundrum: How do you make audiences care about a character whose face is hidden under a metallic scowl?

But by that point, the film has earned its laughs by making the audience care about characters who begin the film as broad comic types, but end it as sympathetic, fully formed, multidimensional human beings.

Not exact matches

Unlike the recent string of TV shows made into movies, like the «21 Jump Street» franchise, Peña said the intention with «CHiPs» is to be more serious in the hopes to make the audience care and be concerned about what the characters are going through.

From clueless bosses to wacky neighbors, One Day at a Time hits refresh on your usual sitcom character tropes by bringing a distinctive familiarity as the cast uses their synergy to deliver their scripts and convince audiences that they do in fact care about one another and the journey they're all on together.

He probably even thought the audience was going to care about the characters.

There are a few beguiling moments in Holy Motors, particularly a martial - arts sequence and an erotic dance while Mr. Oscar is dressed in a motion - capture body suit, but the road between those moments is so strewn with stalled ideas that audiences who care about character and plot are liable to take the exit to a movie that makes sense.

It is possible to make the audience care about an utterly loathsome character if we understand their motivations - for instance, Gene Hackman's character in Unforgiven.

The ominous premonitions to a brutal season closer, the haunting performance by Brian Cranston, and the strong performances given by the supporting cast creates characters that the audience truly care about, and makes Walt's transformation all the more horrifying.

For the rest, he hired a screenwriter to build a story around these bits of business, along with characters the audience would care about.

This Spider - Man entry gives the hero and the audience a little bit of breathing space, giving us a lively ensemble that focuses less on reflecting series iconography and more on giving the audience characters to care about.

The film breaks faith with its audience by asking us to care about two profoundly antipathetic characters spouting pseudo-poetic banalities.

Unfortunately, Stein appears so singularly focused on the film's slick visual look that he forgets to make his audience care about (or even understand) the characters.

Because the audience feels little attachment to characters, it is hard to care about when her heart - breaks over Luke.

The nearly two - hour running time flies by, but still manages to develop a meaningful dramatic tone, and develop characters the audience can care about.

Sidney Hall attempts to manipulate the audience by trying to make them care about characters without given a single reason to.

It is hard to care that much about a character who puts a camera on a roller coaster in the pursuit of a larger audience share.

This film excels in all of these areas, making the audience care about what happens to each character, whether it be the investigating couple, Lorraine and Ed Warren (Vera Farmiga and Patrick Wilson respectively), the tortured owners of the house Roger and Carolyn Perron (Ron Livingston and Lili Taylor), or their kids (too many to count).

Although the focus is on only a handful of characters, the screenplay does not do enough to make the audience care about them.

Built around the notion that anything outrageous is funny, the makers of «American Wedding» bank on the idea that easy teen - and college - age audiences won't care about tediously underwritten characters, a general lameness of humor and flaccid attempts at emotional investment (Jim takes Michelle on a romantic walk on the beach) as long as those audiences leave the theater with one or two over-the-top howlers to talk about.

The characters are a family that the audience are able to quickly care about, the high stakes are always present and the scenario where sound is deadly, is used to its full potential.

He values that we care about his characters first and foremost, so when the action and other, more familiar and entertaining elements arrive in his films, the audience is so invested (if the film is working) that you can't imagine losing them.

It has nothing of the depth and complexity of, say, Lady Bird (2017), but it does the job of making the horror properly horrific: These are fully rounded characters the audience cares about when bad things happen to them.

So the audience is asked to care about the mountain of muscle's relationship with an albino gorilla made threatening by the machinations of an evil corporation spearheaded by two thin comedic characters that barely register.

Insult to injury, the overall script lacks real depth to give the audience a reason to care about any of the characters and the overuse of narration seems to cheapen the feel of the production further.

Despite it's many tries, the film fails to establish any kind of family chemistry and thus fails to make the audience care about it's characters.

It mocks its superhero stablemates, chiefly James Mangold's Logan (even using a musical cue from the film), but in an attempt to have its cake and eat it, still expects audiences to care about the feelings and motivations of its characters.

But in order for the film to be compelling the audience needs a reason to care about what's happening to the character, which is the key missing in Kill Your Friends, a pitch black comedy based on the book of the same name by author John Niven.

This is perhaps the first zombie film that portrayed realistic and relateable characters to the audience, therefore making the action sequences all the more intense because you actually care about them and fear for their safety.

There is some mystery behind Hoffstetler as he has multiple story lines but he is also a character that the audience latches onto and cares about deeply.

With spotty acting, superficial developments, and rules that seem to be made up as the film moves along, Dead Silence is strictly only of interest to audiences who are all about scary images set to ominous music, caring far less about a good storyline to follow or characters who do or say things that might be plausible to anyone who experiences them in real life.

It's a problem the series continues to have, where the too - precious dialogue grasps the audience's hand to point and tell us how we should feel about certain characters or couples, rather than giving us a reason to care in the first place.

The main reason it does not work is because the audience is never really forced to care about or relate to Gyllenhaal's character, instead he just comes off as a smug, rich jerk who never loved his wife.

There has never been a more gifted visual storyteller than Steven Spielberg; in the five minutes of shorthand that opens his War of the Worlds, he creates three characters we care about, a world that we recognize, and a real hope that this time, this one time, he'll be courageous enough to follow a narrative through to its logical end instead of the one he thinks will least disturb his audience.

Like many films that focus on drug addiction, it's often difficult for a general audience to care about a character who exhibits zero redeeming moral value and spins farther into decline with every running minute.

These two characters and their storyline is an intrusive waste, serving no real purpose other than to annoy the audience by interrupting the flow of anything it will care the slightest bit about — and hence ruining the entire viewing experience.

The filmmakers gamely attempt to make an audience feel invested in Vision and Wanda, two characters whose development has happened almost entirely off - screen — not even Paul Bettany's considerable puppy dog eyes could make me care about their relationship.

There's an art to making audiences care about the problems of glossy Manhattanites who are suffering photogenically in their Architectural Digest - ready apartments, but neither Loeb nor director Marc Webb («The Amazing Spider - Man») seems to have the first idea of how to make these characters anything but insufferable.

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